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4 







































































































THE 


AMERICAN OIRL’S BOOK; 

OB, 

Ocnipttcnt for 

BT 

MISS ELIZA LESLIE. 

“The (ports of children sntisfy the child.”— Goldtmiik. 



SIXTEENTH EDITION. 

NEW YORK: 

JAMES MILLER, 522 BROADWAY, 

(8UCCES80R TO C. S. FRANCIS & CO.) 

1863. 


g|k$rv-.- 





















































JUU 




CONTENTS 


Dart K. 

SPORTS AND PASTIMES. 


Lady Queen Anne 
Robiu’s Alive . . 

The Bookbinder . . . . 

How many miles to Babylon 

How many Fingers . . . 

Puss in the Corner 

Mr. Pope and his Lady . . 

Copenhagen 

Honey Pots . . • • 

Track the Rabbit . 

Whoop, or Hide and Seek 

Hot Buttered Beans 

Stir the Mush .... 

Twirl the Trencher 

Bread and Cheese 

Frog in the Middle 

The Christmas Bag 

Of what Trade is our Favourite 

Four Legs . 

The King and his Train 

Sewing School .... 

The Blind Pointer 

The Hen and Chickens . . 

Hunt the Slipper 

The Thimble . . 

The Ten fine Birds 
King and Queen 


Paqb 

23 
. 24 


46 

47 

48 

49 
60 
51 
53 



- 


- 



























The Dutch Doll ... . . 

Farmers and Mechanics . . . . . . • 

She can do little who can’t do this «... 

Blindman’s Buff. . . 

The Bells of London ...... 

The Prussian Exercise . .. 

Dressing the Lady ..... . . 

The Throne of Compliments . . . . 

The Apprentice. . 

The Traveller. ... 

Magical Music. . 

Chittcrbob . . 

How do you like it? ....... 

What is my thought like ?.. 

The Lawyer ... 

The Elements. . 

The Secret Word ... .... 

Many Words in One.. 

The Watch Word.. . 

The Newspaper . ' . . . . . . . 

The Merchants. 

Tea Table ... . 

My Lady’s Toilet. 

The Dumb Orator. 

Consequences . 

1 love my love . . . .. . . . . 

Another way of playing I love my love .... 

Cupid. 

Seek the Whistle. 

Hot Cockles. ... 

Shadows. 

Blindman’s Ring .... , 

The Two Blind Sisters . . . . 

Selling and Redeeming Forfeits or Pawns 

The Washing Song and other modes of redeeming forfeits 


53 

56 

58 

59 

02 

65 

66 

68 

71 

72 

75 

77 

78 

80 

83 

86 

88 

90 

92 

94 

97 

98 

99 

102 

105 

108 

111 

114 

319 

320 

321 

323 

323 

116 

326 


mr— 









































g^^rr-Tr-- 




* CONTENTS. Vi] 

PLAYS WITH TOYS. 


Paoi 


The Graces 

• . 


, * 



134 

Battledoor and Shuttlecock 

# 


# # 



136 

Loto. 




* 


138 

Domino .... 





. 

140 

Checkers 





• 

142 

Fox and Geese . . . 






146 

Morrice .... 






148 

Jack Straws . , . . 

LITTLE GAMES WITH 

• • • 

CARDS. 

• 

• 

150 

Expedition 






154 

Recruiting Officer 






156 

Tommy come Tickle me 

• 

• 

• 

• 

• 

157 

Old Maid, or Old Bachelor 

• • 

• 

• 


• 

158 

Speculation, or Matrimony 

% 

• • 

• 

• • 

• 

. 

160 

Lend me your bundle, neighbour . . 

• 

• » 


• 

162 

Five and Forty . 

• 

. 

• * 

• 

. 

164 

A Card House . . . 

• 

• 

• 


. 

166 

A Cheesecake of Cards . 

• 

• 

• • 

• 

• 

167 

An easy trick with Cards . 






168 

Games with Historical Cards 






169 

The Black Sailors 






331 

The Four Latin Words . 

• • • 

• 

• • 

• 

• 

334 

The Lady and her Boarders 

• t 


• • 

• 

• 

337 

The Wonderful Guesser . 

• • 

• 

• • 

• 

• 

338 

A very simple trick 

• • • 

$art M. 

RIDDLES 

• 

• n 

« 


340 

Enigmas % . 

Charades 

• • • 

• 

• 

• 

175, 

195 . 

312 

352 


















— 



- .1 


... 

V1U CONTENTS. 






* 

PiOl 

Robases . . .... 



205 

Conundrums . 

• * 

• 

220, 35S 

$act ££E. 




AMUSING WORK.—PINCUSHIONS. 



A Brick Pincushion . 




Flannel Pincushions . 




A Heart Pincushion .... 


• • 

. 243 

A Pincushion in Gores . 

. 

• 

244 

A Corded Pincushion . ... 



. 245 

A Strawberry. 




A Basket Pincushion . 








A Bunch of Roots ...... 




A Star Pincushion ...... 

• • 

• 

251 

A Melon-seed Pincushion . 




A Boot Pincushion . 



254 

A Swan Pincushion ... 


• ♦ 

. 255 

A Woman Pincushion . . . 

• • 

• 

257 

A Guitar Pincushion . 


• • 

. 259 

A Gingham Pincushion . 




A Wine-glass Pincushion .... 


• 

. 380 

NEEDLE BOOKS. 




A Bellows Needle Book ... . 


. 

260 

A Thistle Needle Book 

• 

• , 

. 262 

Needle Book Work Bag 

• • 

• 

264 

\ very convenient Needle Bu- t 

• 

« 

. 266 

\ Pincushion Needle Boo* 



268 

A Three-sided Needle Bo 

■ * 


. 970 

\ Card Needle Book 


0 

380 



























- 


f 

A Doll Bag 

CONTENTS. 

RETICULES. 

• • • 

ix 

P*oa 

5272 


A Circular Reticule . 

• • • • • 

274 


A Basket Reticule 


. 276 


A Three-sided Reticule 

• ••••• 

. 277 


A Pocket Book Reticule 


278 


A Plaited Reticule 

• •99* • • 

. 279 


A Melon Reticule 

• • • • • 

281 


A Pointed Reticule 




A Halbert-shaped Reticule 

• ••99 

2S4 


A Dimity Reticule . 

• • 9 •• • 

• 286 


A Braided Reticule . 


. ■ . 288 


A Card Basket . . 

• • « • 

, 375 


A Lamp-stand . . 

VARIETIES. 

• • • 

291 


A Match Box 




A Riddle Flower 




A Dancing Doll 




A Jointed Linen Doll 

• • • • • • 

. 300 


A common Linen Doll 

• ••••• 

305 


A Black Doll 


. 307 


A Pen-wiper . . . 




Another Pen-wiper . 

f • • • • • 

. 309 


A third Pen-wiper . . 

• * • * * 

311 


A Wafer Pen-wiper 

• 

. . 383 


Hexagon Patch-work 

• • • • • 

312 


A Court-Plaster Case . 

• • • 9 • m 

. . 313 


A Book Marker 

• *•••• 

372 


B 





— 

















»t2|^nr-r'- 


0ppcutifj:. 

PLAYS AND PASTIMES. 

/Seek the Whistle . 

Hot Cockles . 

Shadows ..... .... 

Blindmnn’s Ring.. . 

The Two Blind Sisters . . .... 

The Washing Song and other modes of redeeming forfeits 

TRICKS WITH CARDS. 

The Black Sailors ..... . 

The Four Latin Words. 

The Lady and her Boarders. 

The Wonderful Guosser. 

A very simple trick . . . 


U — 



Pag* 

319 
. 320 
321 
. 323 
323 
. 326 


331 

334 

337 

338 
340 


RIDDLES. 

Enigmas . ... 342 

Charades . . e . ..352 

Conundrums.. . . 359 

AMUSING WORK. 

A Book Marker.372 

A Card Basket.. 

A Gingham Pincushion. 373 

A Wine-glas 9 Pincushion. 300 

A Card Needle Book .... .... 381 

4 Wafer Pen-wiper 383 


?B& rr ' —— 










































FRONTISPIECE. 



















































































INTRODUCTION. 

(see FRONTISPIECE.1 


Henrietta *abella, and Juliet, are seated under a tree in the garden, when thej 
suddenly perceive their mother coming to them from the house. 

Juliet. 0! here is dear mother just arrived from the city. 
Let us run to meet her. (They hasten to Mrs. Morrington, and 
she hisses them all.) 

Mrs. Morrington. Well, my dears, I am glad to see }'ou 
well, and I suppose that nothing of any consequence has hap¬ 
pened since I left you on Wednesday? 

Henrietta. Nothing, mother ; only that the fire-flies began 
to appear last evening. They were sparkling all through the 
garden. 

Isabella. And we heard the mocking-bird yesterday imita 
ting the whip-poor-will, and he said those words as plainly as if 
he-was speaking them; just like the the real whip-poor-will. 












- 


14 


INTRODUCTION. 


Juliet And iny own cantelope vine, that I planted myself, 
has come out with twenty-six blossoms ; so I shall have a fine 
supply of melons. 

Mrs. Morrington. I rejoice to hear so much good news 
But I must show you a new book I have brought you, and then 
1 will go in and take off my bonnet. 

Henrietta. What is it, dear mother ? 

Mrs. Morrington. It is the American Girl’s Book. 

All. Oh ! let us see it. (Mrs. Morrington gives it to them.) 

Henrietta. It is a book of recreations. Have you read it, 
mother ? 

Mrs. Morrington. Yes, I read it this morning in the steam¬ 
boat. I hope you will in future be at no loss for amusements in 
your play-hours. 

Isabella. I wish we had possessed this book before we 
went to Georgiana Howard’s birth-day party, where nothing 
was thought of but playing on the piano and dancing, mst as if 
the company were all ladies and gentlemen. 

Henrietta. Still I think that Georgiana Howard’s party was 
not more dull than parties usually are—I am sure they are all 
equally so to me. 

Juliet. And to me also ; as I have not yet began to learn 
music, I do not think that ugly tunes are pretty. 

Mrs. Morrington. (smiling.) Explain yourself. 














INTRODUCTION. 

Juliet. 1 mean that I do not like to sit half the evening and 
hear little girls playing the tiresome pieces that their teachers 
call “ good practice.” They may be very good practice, but 
children like me can find no meaning in them, as they seem to 
go all ways and with no regularity, and it is difficult to distin 
guish one from another. 

Mrs. Morrington. They appear so to you, because you do 
not understand them. I can easily imagine, that, to the gen¬ 
erality of children, such music is very fatiguing, even when well 
performed and by excellent musicians. 

Juliet. Little girls like amusements that they can all par¬ 
take of. Now when there is dancing at parties, not one half the 
company can get places, particularly the younger ones, so they 
are obliged to sit by and look on. 

Henrietta. Besides, we have enough of music and dancing 
at school. That evening at Georgiana’s I proposed some little 
plays by way of variety, but I found that no one knew any thing 
about that sort of amusement. I would have tried to teach 
them the few that I was acquainted with, but Georgiana and the 
elder girls persisted in dancing, and nearly all the little ones fell 
asleep on their chairs. 

Juliet. Are the plays and games in this book for children of 
all ages, dear mother ? 
















1G 


INTRODUCTION. 



Mrs. Morrington. Yes, the first section comprises a series 
of sports and pastimes for little girls from four to ten years* 
old. Many of these amusements are designed chiefly to exercise 
the body, and none of them require any extraordinary effort of 
the mind. These are followed by plays for girls between ten 
and fifteen, in most of which some degree of ingenuity is 
requisite. 

Juliet. But are these plays for the elder girls too difficult fot 
the little ones ? 

Mrs. Morrington. A few of them are. But, generally 
speaking, an intelligent little girl with a quick comprehension 
and a good memory will find any diversion in the book suf¬ 
ficiently easy. 

Henrietta. Some of the amusements in the first part of the 
book seem quite too childish for me. 

Isabella. Well, I intend to go through them all. I think it 
pleasant enough to play with small children occasionally, when 
they are not dull nor fretful, and I like to make them happy by 
entering into their amusements, however trifling they may 
appear. 

Mrs. Morrington. You see that most of these plays are not 
only minutely described, but also illustrated by a dialogue. 

Isabella. The dialogues will of course enable us to com 
prehend the plays with more ease. 










-- 


1NTR0DUCTI ON. 


17 


Henrietta. Ah ! here are various ways of redeeming for 
feits. In games of forfeits there is generally considerable diffi¬ 
culty in deciding upon what terms they are to be restored to 
their owners. 

Isabella. And here are little games with cards as well as 
loto, domino, checkers, and other similar diversions. 

Henrietta. And here is a large collection of riddles with the 
answers directly under them, which will save the trouble of turn¬ 
ing over leaves and searching out figures of reference. 

Isabella. See—see—Here are varieties of pmcusnions, 

needle-books, and reticules, with directions for making them. 

Juliet. And dolls too ! Here are several ways of making 
dolls. 

Mrs. Morrrington. I will give you some pieces of silk and 
other materials, and you may construct as many of these arti¬ 
cles as you please. This sort of work is not only amusing, but 
very improving, as it teaches children expertness in cutting out 
and fixing, and neatness m sewing. 

Henrietta. Juliet, I will make you a handsome linen doll 
exactly like this in the book. 

Juliet. Thank you, Henrietta. I know I shall like it better 
than my wax doll, which I am always afraid to handle. I think 
1 could myself make some of these bags and pincushions. At 
least I will try one or two of the easiest. 


—-— 


















mr 


t 

18 INTRODUCTION. 

Isabella. I shall not fear to attempt any of them. 

Henrietta. And I will undertake all the drawing and col 
ouring that is to be done. 

Juliet. I think I shall make a patch-work quilt for my 
doll. 

Isabella. And while two of us are sewing, the other can 
read the riddles aloud, and we will try to guess them. 

Henrietta. I rather think we shall know all the riddles be¬ 
fore this sewing begins. 

Juliet. Dear mother, now that you have been so kind as to 
bring us this book, I shall find less trouble in amusing little Ma¬ 
rian Graham when she comes to see me. She, at least, can play 
“ Robin’s alive,” and “ Honey Pots,” and “ Bread and Cheese.” 
She may be able also to understand some of the easiest 
riddles, though I doubt her guessing any of the conundrums, 
poor thing. And as for cutting and sewing, I dare say she 
could soon learn to ’lip the edges of the pen-wipers, or perhaps 
to make a black doll 

Henrietta. Dear mother, my birth-day will soon come. If 
you will permit me to have a little party, we will show how well 
we can get through the evening without either music or danc¬ 
ing, or without pretending to talk and behave like grown ladies 
or gentlemen. Before that time we shall have learned all these 















INTRODUCTION 


19 


plays, and we will select for the occasion none but the most 
amusing, and such as the whole company can join in. 

Mrs. Morrington. I consent, my dear, willingly, and I hop* 
your young guests will follow the example and conduct their 
future parties on a similar plan. Do not, however, suppose that 
these little plays are intended particularly for parties. Many of 
them can be just as well pursued in small families or by only 
two or three children. 

I have often regretted that so many of the diversions which 
formerly enlivened the leisure hours of very young people should 
long since have become obsolete, or only to be found in circles 
which are yet untouched with the folly and affectation of what is 
called fashion. And also that in families where the children are 
over educated (as is now too often the case) the parents, forgetting 
that they themselves were once young, allow no recreations but 
those of so grave a character, that play becomes more difficult 
and fatiguing than study. 

The author of this little book has not aimed at compiling a 
juvenile encyclopedia.—It is simply an unpretending manual of 
dght and exhilarating amusements; most of which will be found 
on trial to answer the purpose of unbending the mind or exercis¬ 
ing the body, and at the same time interesting the attention. 



























\ 







* 





































* 

. 


























































-— 


iisciiiEnoASJ Shubins ib®©e 0 


SPORTS AND PASTIMES. 


In books, or work, or healthful play, 
Let my first years be pass’d. 

Watts. 



Some of these plays require a more minute explana- 
lion than others. We will suppose a company of very 
young girls engaged in them ; and, designating each 
child by her name, we will give a short sketch, in 
the dramatic or dialogue form, of what may be said oi 
done on the occasion, whenever we think such an illus¬ 
tration will answer the purpose better than a mere de* 
scription. 









- 




Iliiu 



1 

IrS 



11 



LADY QUEEN ANNE. 

We will imagine five little girls engaged in tins play, 
and their names may be Fanny, Lucy, Mary, Ellen, 
and Jane. 

A ball dr pincushion, or something of the kind, hav¬ 
ing been procured, Fanny leaves the room or hides her 
face in a corner, that she may not see what is going on 
while her companions range themselves in a row, each 


$ _ 

'- 

















concealing both hands under her frock or apron. The 
ball has been given to Ellen, but all the others must 
likewise keep their hands under cover, as if they had 
it. When all is ready, Fanny is desired to come for¬ 
ward, and, advancing in front of the row, she addresses 
any one she pleases (for instance, Lucy,) in the follow¬ 
ing words : 


“ Lady Queen Anne, she sits in the sun. 

As fair as a lily, as brown as a bun, 

She sends you three letters, and prays you’ll read one.” 

Lucy. 1 cannot read one, unless I read all. 

Fanny. Then pray, Miss Lucy, deliver the ball. 


Lucy, not being the one that has the ball, displays 
her empty hands ; and Fanny, finding that she has 
guessed wrong, retires, and comes back again as soon 
as she is called. She then addresses Mary in the 
same words, “ Lady Queen Anne,” &c. ; but she is 
still mistaken, as Mary has not the ball. Next time 
Fanny accosts Ellen, and finds that she is now right: 
Ellen producing the ball from under her apron. Ellen 
now goes out, and Fanny takes her place in the row. 
Sometimes the real holder of the ball happens to be the 
first nerson addressed. 
























2 . 


ROBIN’S ALIVE. 

'I his is played by the children sitting in a row, 
with a small lighted stick or a rod that burns slowly ; 
which had better be held with' great care, that there 
may be no danger of setting any thing on fire. Fanny, 
being at the head of the row, takes the lighted stick 
in her hand, and blows, out the flamed so that there 
remains only a spark, or a dull redness on the top of 
the stick. 











AMERICAN G I R L’S BOOK. 


25 


Fanny then says, “ Robin’s alive, and alive he 
shall be. If he dies in my hand, my mouth shall be 
bridled, my back shall be saddled, and I’ll be sent 
home to the king’s Whitehall.” She then puts the 
lighted stick into the hand of Susan, who is next to 
her, and Susan repeats the same words, and passes it 
on to Lucy. After Lucy has gone through “ Robin’s 
alive,” &c. she transfers the stick to the next, the fire 
all the time gradually fading. If it goes quite out in 
the hand of Mary, or any one else, Fanny must say to 
her, “ Robin is dead, and dead he shall be. He has 
died in your hand,- and your mouth shall be bridled, 
your back shall be saddled to send you home to the 
king’s Whitehall.” Mary is then blindfolded, and lies 
down on the sofa or on the hearth-rug, with her face 
downward. Each of the little girls, in turn, brings 
something and lays it on Mary’s back; for instance, a 
newspaper, a book, a handkerchief, a shoe, a little bas¬ 
ket, or any other convenient article, saying every time 
“ Heavy, heavy, what lies over you ?” Mary tries to 
guess, and when she guesses rightly she is allowed tc 
rise. The stick is lighted again, and the play resumed 
It must be remembered, that, as soon as the stick is light 
ed, the flame is to be blown out, so as to leave only a 




c 


— 











[tffiry*- 


-*-A-®S#Si 


2(3 


AMERICAN GIRLS BOOK. 


redness. A green rod is the best for a Robin, as i 
burns more slowly and lasts longer than a dry stick. 

If Mary guess a book, when it is in reality a shoe, 
the girl who has placed it there must say, “ Shoe, lie 
ihere till book come,” and so on throughout the play. 


THE BOOK-BINDER. 

All the little girls range themselves in a row on chairs 
or on the sofa, each holding together the palms of her 
hands. Fanny, who personates the book-binder, takes 
a small book between her hands, and beginning at the 
head of the row where Lucy is seated, she taps the cov¬ 
er with her fingers for a moment, and then suddenly en¬ 
deavours to give Lucy a smart blow with the book on 
her joined hands. Lucy endeavours to avoid the blow 
by hastily withdrawing her hands. If she is not quick 
enough and allows them to be struck, she must go down 
to the bottom or tail of the row. Fanny then proceeds 
to the next girl, and attempts in the same manner to 
strike her hands with the book; and so on till she has 
got to the end of the row; after which the little girl 
who is then head of the line becomes book-binder. 













- 


AMERICAN GIRL’S BOOK. 


2 ? 





4 . 


HOW MANY MILES TO BABYLON. 

This is a very simple play, but is good exercise in 
cold weather. It is generally played by three, or five 
When three only are engaged in it, one stands at each 
end of the room, and the third at one side; the latter is 
called the witch. Fanny calls out “ How many miles 
to Babylon ?” Lucy replies, “ Threescore and ten."’ 
Fanny asks, “Can I get there by candle-light?” Lucy 
answers, “Yes, and back again ; but take care the old 
witch don’t catch you on the road.” Susan, who per¬ 
forms the witch, then starts forward and tries to catch 
one of her playmates, as they all run about in every di¬ 
rection to save themselves from her grasp. The one 
that she succeeds in catching then becomes witch, and 
the play proceeds as before. 

If five are playing, one stands in each of the four cor¬ 
ners of the room, and the fifth, who is the witch, takes 
the middle. 











28 



5 . 


HOW MANY FINGERS. 


This is a very simple play, and can be understood by 
children of three years old. It is played by two only. 
One lays her head in the lap of the other, in such a 
manner that she can see nothing. Her companion claps 
her several times on the back, holding up one or more 
fingers saying 



“ Mingledy, mingledy, clap, clap, 
How many fingers do T hold up 



































AMERICAN GIRL’S BOOK. 


29 


She must endeavour to guess. If she guesses three 
when in reality only two have been held up, her play¬ 
mate says 

“ Three you said, and two it was, 

Mingledy, mingledy, clap, clap. 

How many lingers do I hold up ?” (holding up four.) 


She guesses again, and whenever she guesses rightly, 
it becomes her turn to hold up her fingers, while her 
companion lays her head down and covers her eyes. 
She who holds up her fingers, changes the number eve¬ 
ry time, sometimes holding up but one, sometimes all 
the fingers of both hands. The thumbs must never be 
held up. 


6 . 

PUSS IN THE CORNER. 

This is very simple, and is played by five. One goes 
into each corner of the room, and the fifth stands in the 
middle, personating the Puss. As soon as she calls out 
‘ Poor Pussy wants a corner,” they all run out of the 
corners to change them, and the Puss tries to get intc 
one. She that in the scramble is left without a corner 
goes into the middle as the next Puss. 


- 







This may be played by any number. A small waiter 
of a circular shape is provided ; or, if a round waiter is 
not at hand, a little plate will do as well. The waiter 
is laid on the floor in the middle of the room. One of 
the company goes to it, takes it up, and setting it on its 
edge, gives it a vigorous twirl with her thumb and lin¬ 
ger, so as to make it spin round, saying, as she takes the 
waiter, “By the leave of Mr. Pope and his lady. M If 


- 




























tz 





AMERICAN GIRL’S BOOR. 




che waiter falls with the wrong side upward, she is 
to pay a forfeit; and a forfeit is also required if she for¬ 
gets to say the proper words on taking it up. She then 
retires, and the next in turn advances and spins round 
the waiter, saying also, “ By the leave of Mr. Pope and 
his lady.” 


8 . 

COPENHAGEN. 

First procure a long piece of tape or twine, sufficient 
to go round the whole company, who must stand in a 
circle, every girl holding in each of her hands a part of 
the string. The last that takes her station, holds the 
two ends of the tape. One remains standing in the 
centre of the circle. She is called “ the Dane,” and she 
must endeavour to slap the hands of one of those that is 
holding the string, and who must try to elude the blow 
by hastily withdrawing her hands. If she is not suffi¬ 
ciently alert, and allows them to be slapped, she takes 
the place of the Dane, and forfeits a kiss to her. When 
in the middle of the ring, she in turn must try to slap 
the hands of some one. 














9 . 

HONEY POTS. 

A little girl sits half down on the floor, clasping her 
hands together under her knees. Two others, who are 
older and stronger, take her up by the arms and carry 
her round the room between them, saying, “ Who’ll buy 
a honey pot?” The Honey Pot must keep her hands 
tightly clasped together all the time, so as to support hei 
knees. If she loosens them, and allows her feet to 














—* 


AMERICAN GIRL’S BOOK. 




drop before she has been carried quite round tne room, 
she is to pay a forfeit. If the company is large, several 
honey pots may be carried round at once. 


10 . 


TRACK THE RABBIT. 


The girls form a circle, holding each other’s hands. 
One, called “ the Rabbit,” is left out. She runs several 
times round the ring on the outside, and then taps one 
of her companions on the shoulder. She that has re¬ 
ceived the tap quits the ring and pursues the rabbit, (al¬ 
ways following exactly in her track) the circle again 
joining hands. The rabbit runs round the ring and 
through it in every direction, passing under the arms of 
those in the circle, who raise them to let her pass, and 
her pursuer follows closely after her. As soon as she 
catches the rabbit, she becomes rabbit herself, and takes 
her place on the outside of the ring. Those in the cir¬ 
cle must always assist the rabbit in trying to save her 
self from being caught. 













AMERICAN GIRLS BOOK. 


11 . 

WHOOP, OR HIDE AND SEEK. 

This is best played in a garden, in a farm-yard, in 
.he woods, or in some other suitable place out of doors, 
where there are conveniences for hiding. The children 
assemble together in a group, covering their faces, that 
they may not see, while one of them (called the hider) 
conceals herself among the trees, behind the bushes, 
within an arbour, on the other side of a wall, under a 
heap of hay, or in any other place that she thinks will 
not be discovered. As soon as she has hidden herself, 
she calls out “ Whoop,” in a loud voice. Her compan¬ 
ions then run about in search of her, and whoever finds 
her first, is the next to hide. 


12 . 


HOT BUTTERED BEANS. 

A card, a match, a scrap of ribbon, a bit of paper, or 
some other little thing is the article to be hidden, and 
Fanny may be chosen to begin the play. All the other 
girls leave the room and stay outside of the door; or if 
it is more convenient to remain in the room, they go in- 


- 








- 


AMERICAN GIRLS BOOK. 


o a corner and cover their eyes, taking care not to peep. 
Fanny then hides the card or whatever it may be, under 
the hearth-rug, beneath the table-cover, behind a win- 
iow shutter or behind the sofa, on the shelf of the piano, 
or in any other place she thinks proper. She then sum¬ 
mons her play-mates by calling out, “ Hot butter’d 
beans; please to come to supper.” The other girls all 
run and search every where for the card. If they ap¬ 
proach the place where it is concealed, Fanny tells 
them that “ they burn,” or that “ they are warm,” ac¬ 
cording to the distance. If they keep far from it, she 
says “they are cold,” or “cool.” She that finds the 
card, hides it next time. 


13 . 


STIR THE MUSH. 


Have one chair too few, and‘prohibit sitting on the 
sofa. If seven girls are playing, allow but six chairs 
to remain in the room, and place them close to the wall. 
One of the children stands in the middle of the room, 
holding «a stout stick, and the others walk round her, 
saying, “Stir the mush, stir the mush and she pre* 
1 to stir very hard with the stick, continuing to do 













•J 


3G 


AMERICAN GIRL'S BOOK. 



so for some time. After a while, when no one is ex 
pecting it, she knocks three times on the floor with the 
stick, and then drops it and joins her play-mates, who at 
this signal all run about and scramble for a seat. Who- 
ever is left without a chair, is the next to take the stick 
and stir the mush. 


14. 

TWIRL THE TRENCHER. 

A plate is laid in the middle of the floor. The leader 
of the play then designates all the girls by numbers, as, 
One, Two, Three, Four, &c. and they must take care 
to remember their numbers. She then desires No. 1 
to go and twirl the trencher ; that is, she must take the 
plate between her thumb and finger and give it a hard 
twirl to set it spinning, at the same time calling out for 
No. 4, or any one she pleases. If No. 4 does not in¬ 
stantly run up and catch the plate before it has done 
spinning round, she pays a forfeit. If she is sufficiently 
alert to get to it and seize it before it falls, she must 
give it a twirl and make it spin, calling out for No. 2 
or some one else, who must then endeavour to catch the 
plate in time, or pay a pawn if she fails. 



















1 £>. 

BREAD AND CHEESE 

This is generally played by two only. Each shuts 
her hands, and the closed hands are piled upon each 
other, Lucy’s and Jane’s alternately. That is, Lucy 
places her right hand on the table or on her knee. Then 
Jane puts her right hand on Lucy’s. Next Lucy adds 
her left hand, and then Jane completes the pile by put- 
tiny ner Jett hand on the ton of Lucy’s. When the 













38 


AMERICAN GIRLS BOOK. 


hands are arranged, Lucy (whose hand is undermost) 
asks Jane, “ What have you there ?” Jane replies, 
“ Bread and cheese.” Lucy tells her to “ Eat it up 
which Jane pretends to do by withdrawing her left 
hand and putting it to her mouth ; as if eating her 
Dread and cheese. Jane then asks Lucy, “ What she 
has there ?” and Lucy replies in the same manner. 
Lucy then puts the question to Jane, who, after taking 
away her right hand, commences the following dia¬ 
logue, while Lucy (till it is over) continues to keep her 


right hand 

closed and resting on the table. 

Jane. 

What have you there i 

Lucy. 

A chest. 

Jane. 

What is in it ? 

Lucy. 

Bread and cheese. 

Jane. 

Where is my share ? 

Lucy. 

The cat has got it. 

Jane. 

Where is the cat ? 

Lucy 

In the woods. 

Jane. 

Where are the woods t 

Lucy. 

Fire has burned them. 

Jane. 

Where is the fire i 

Lucy. 

Water has quenched rt 

Jane. 

Where is the water 

Lucy. 

The ox has drank it. 

Jane. 

Where is the ox i 

Lucy. 

The butcher has killed him. 

Jane. 

Where is the butcher ? 
























AMERICAN GIRL’S BOOK. 


39 


Lucv. Behind the door cracking nuts ; and whoever speaks the first word 
shall havo three twitches by the ear and three squeezes by the haud 

They then try which can remain silent the long¬ 
est. If either speaks, the other twitches her ear and 
squeezes her hand three times. If the play is repeated, 
*t is Jane’s turn to have her hand at the bottom and to 
answer the questions. 


16 . 


FROG IN THE MIDDLE. 

She that personates the Frog stands in the middle 
of the room, and her companions run round her, saying, 
“ Frog in the middle, you can’t catch me.” Now and 
then the Frog suddenly jumps out and endeavours to 
seize on one of her play-mates, who if caught becomes 
Frog and takes her station in the centre. The Frog, 
when she jumps out of the middle, must not pursue nor 
run after any one, but must try to catch by a sudden 
spring and grasp. 















; i B^ rnor - 




^nnr-- 


THE CHRISTMAS BAG 


Fill with sugar plums a large bag of thin white pa¬ 
per and tie a string round the top to keep it fast. Then 



























































































AMERICAN GIRL’S BOOK. 


41 


suspend it to the centre of a large door-frame (the 
folding door for instance), or to the ceiling if conve¬ 
nient. Each of the children must be blindfolded in 
turn, and provided with a long stick. They are then 
led within reach of the bag and directed to try while 
blindfolded to strike the bag with the stick, and are al¬ 
lowed to make three attempts ; after which, if unsuc¬ 
cessful, they must give place to the next. The play 
goes on in this manner till some one strikes the bag 
with the stick so as to tear a hole in the paper ; upon 
which the sugar-plums fall out and are scattered over 
the floor, when all the children scramble for them. For 
older children there may be a second bag filled with 
tittle books, small pin-cushions, bodkins, emery-bags, 
ribbon-yards, and things of a similar description. 


This amusement may be concluded, by one of the 
amily bringing in a bag which has been secretly filled 
with flour, and hanging it to the door-frame as if, like 
the others, it was stored with sugar-plums or pretty 
things. The company must not be apprized of its real 
contents, and must as before try blindfolded to strike i< 
with the stick. When a hole is torn in the bag. ev^ry 
one near it will be dusted with the flour 







- 


s%. 


L-4 '--it 

u 


42 


M E Ttl C A N GIRL’S BOOK 


18 . 


OF Yv HAT TRADE IS OUR FAVOURITE ? 


Lucy goes out while her playmates decide on a trade. 
Fanny having previously taken her aside and whisper¬ 
ed to her that the trade, fixed on, will be the one men¬ 
tioned immediately after a profession. The other girls 
are not to know that this is the manner in which Lucy 
will be enabled to guess. After Lucy has retired, they 
fix on a trade, which may be that of a grocer, for in¬ 
stance. When Lucy is caLled in, Fanny asks her “ of 
what trade is our favourite ?” 


Lucy. 

Fanny. 

Lucy. 

Fanny 

Lucy. 

Fanny 

Lu£y. 

Fanny 

Lucy. 

Fanny. 

Lucy. 

Fanny. 

Lucy. 

All. 


You must question me farther 
Is he a silversmith ? 

No. 

Is he the jeweller across the street t 

No. 

Is he tiie bookseller at the corner ? 

No. 

Is he the cabinet-maker in the next street i 
No. 

Is he the doctor that attends your family ? 

No. 

Is he the grocer that sells such good tea i 
Yes. 

It is a grocer. How could Lucy guess so rightly ? 


- 


s 























AMERICAN GIRL’S BOOK. 4d 

The girls are not aware that Lucy knew she might 
say “ yes” to Fanny’s next question after naming the 
doctor or professional man ; law, physic, and divinity 
being called professions. 

Mary goes out next, Fanny having first whispered 
to her that she would ask the right question immediate¬ 
ly after mentioning a lawyer. The trade fixed on for 
the favourite is watch-maker, and Mary of course 
guesses rightly after hearing a professional man 
named. 


There is a similar play called Four Legs, in which 
any word may be fixed on, such as hat, shovel, fish, 
bonnet, &c. The word, which is mentioned immedi¬ 
ately before the right one, must be something that has 
four legs ; as, dog, horse, table, sofa, chair, &c. When, 
for instance, the guesser, having been previously asked 
a variety of words, hears the question “ Is it a cat ?” 
she may safely reply “ yes” to the next question : a 
cat having four legs. 



- 





































































































































j5$^r-r-T—- 


■— 


AMERICAN GIRL'S BOOK. 45 


IQ 


THE KING AND HIS TRAIN 

Two of the tallest girls (who perform the warders, as 
they are called) go into the middle of the room, and each 
takes a name, whispering the name to each other so as 
not to be heard by the rest. The names may be gold, 
silver, diamond, pearl, lily, tulip, or any thing they 
please. The other children then range themselves in 
procession, each holding with both hands the skirt of 
the one directly before her. The two warders that 
stand in the centre of the room take each other’s hands, 
and raise their arms as high as possible, calling out as 
the procession passes under, 

“ We’ll open the gates as high as the sky, 

And let the king and his train pass by 

and trying to catch one of the little girls by putting 
their joined arms suddenly down, so as to encircle her 
neck. The little girls must try to avoid this by stoop¬ 
ing their heads as they pass under the arms. When 
one is caught, the two warders ask her in a whisper 
whether she chooses gold or silver, or a pearl or a 


— 1 








Si? - 



16 


AMERICAN GIRL’S BOIK. 


diamond, according to the names they have taken. If 
she chooses gold, she goes behind the warder of that 
name, and stands there till the play is over, holding by 
her frock. Should she choose the other, she goes be¬ 
hind silver. The warders then raise their arms again, 
holding each other’s hands, and the rhyme “ We’ll 
open the gates,” &c. is repeated as before. The play 
goes on in this manner till the king and all his train 
are caught, and put behind one or other of the war¬ 
ders. After this, two girls of the next size become 
warders. 

Of those that form the procession the tallest is always 
king, and the others take their places according to 
height, the smallest walking last. 

The procession walks round the warders every time 
previous to passing under their arms. 


20 . 


SEWING SCHOOL. 


The girls sit down in a row, each taking a portion 


of her apron or frock and holding it up in both hands 
between her thumb and forefinger. One who represents 





- 








MER1CAN GIRLS BOOK. 4 

the mistress of the sewing-school, goes along the row 
and says to each one something about the sewing, en¬ 
deavouring to engage the attention of the sewer, while 
she (the mistress) takes an opportunity of striking i 
suddenly out of her hands. If the sewer is off hex 
guard and allows her sewing to be struck down, she 
pays a forfeit. For instance. Suppose all the girls 
seated in a row, and holding their aprons so as to repre¬ 
sent sewing. Fanny goes along, stopping at each and 
saying, “ Lucy, have you come to the seam yet ? Ma¬ 
ry, you are puckering your work. Anne, your stitches 
are too long. Ellen, you don’t fasten off well. Jane, 
your thread is going to break. Rosa, your hem is 
crooked. Ah ! I have struck it out of your hand. You 
should have held it fast. So, now give me something 
for a forfeit.” 


21 . 


THE BLIND POINTER. 

One that performs the Pointer is blindfolded, and 
Rtands in t.He middle of the room, holding a long stick 
in her hand. The ?o round, each as she passe? 



-- 














48 


AMERICAN GIRL’S BOOK. 


> 


making some noise, such as, laughing, crying, coughing, 
sneezing, clapping her hands, or stamping her feet. The 
pointer must endeavour to guess who she is by the 
noise, pointing the stick towards her and calling out 
her name. Whoever is guessed rightly becomes 
Pointer. 


22 . 


THE HEN AND CHICKENS. 


One of the girls who personates a Fox takes her seat 
cn the floor in the middle of the room. The others, 
having the eldest at the head, form a procession hold¬ 
ing each other’s skirts in both hands and walk round 
the Fox, the foremost girl who performs the Hen say¬ 
ing, 


Chickany chickany craney crow, 

I went to the well to wash my toe, 

And when I came back a chicken was dead.” 


The next girl repeats the same rhyme ; and so on 
till each has said it in her turn. Then they all stop 
near the fox, and the hen says, “ What are you doing 


> 


old Fox ?” 













IP 




AMERICAN GIRI/S BOOK. 49 

Fox. Making a fire. 

Hen. What for ? 

Fox. To heat some water. 

Hen. For what is the water * 

Fox. To scald a chicken. 

Hen. Where will you get it ? 

Fox. Out of your flock. 

At these words the fox starts up, and the nen and 
chickens disperse and run away in every direction. 
The fox pursues them, and, when she succeeds in 
catching a chicken, that chicken becomes fox, and seats 
herself in the middle of the room ; while the former 
fox takes the place of the hen at the head of the proces¬ 
sion of chickens. 


23 . 


HUNT THE SLIPPER. 

The girls seat themselves on the floor in a circle in 
the middle of the room, all except one who remains 
out as the hunter, and stands in the centre of the 
ring. A shoe or slipper is then taken off, and they 
shove it about secretly from one to another, passing it 
behind their feet and behind their backs, and in any 
way that will prevent the hunter from seeing it. The 


—— 
















50 


AMERICAN GIRLS BOOK. 


hunter’s object is to detect and snatch away the slippei 
while the girls are privately conveying it round the 
circle, and their aim is to prevent her from seeing it 
or from knowing who has it ; though the possessor 
frequently knocks on the floor with it, when the hunter 
is not looking towards her. As soon as the hunter gets 
hold of the slipper, she takes a seat in the circle, and 
the one with whom she has happened to find the slipper 
then becomes hunter. 


44 . 


THE THIMBLE. 


The company sit in a row holding together the palms 
of their hands. Fanny takes a thimble or any thing 
else that is small and round, (for instance, a hazle-nut 
or shell-bark) and holding it between her palms, she 
goes along the line, pretending to drop it secretly into 
their hands, saying to each “ Hold fast what I give 
you.” Every one opens her hands as if she was receiv 
ing the thimble, and closes them again immediat6« 
ly. Of course, the thimble is only in reality depos- 
d with one. For instance, Fanny leaves it in the 
nds of Lucy. 


















-— 


AMERICAN GIRL S BOOK. 



After Fanny has in this manner gone all along the 
ovv, she returns to the head and asks Mary, who is 
seated there, to guess who has the thimble. Mary 
guesses Jane, who opens her hands and shows that she 
has it not. They all guess in turn. Susan happens 
to guess Lucy; and this being right, Lucy displays the 
thimble and gives it to Susan. It is then Susan’s turn 
to take the thimble and go along the row with it. 

Sometimes when this is played, a forfeit is required 
from every one that guesses wrong, and therefore a 
great number of pawns are speedily collected. 


25. 


THE TEN FINE BIRDS. 


The company sit in a circle, and the play begins by 
one of the girls saying, “ A good fat henthis is re¬ 
peated by the whole circle in turn, but only one must 
speak at a time. When all have said “ A good fat 
hen,” the leader of the play begins again and gives out, 
* Two ducks and a good fat hen which is also repeat¬ 
ed separately by the whole company. 













r 


AMERICAN GIRL’S BOOK. 


i 

I 






The next is, “ Three squawking wild geese, two 
ducks and a good fat hen. ,, After this has gone found 
as before, the leader says, “ Four plump partridges, 
three squawking wild geese, two ducks, and a good fat 
hen.” This having been repeated by all, the next that 
is given out is, “ Five pouting pigeons, four plump 
partridges, three squawking wild geese, two ducks, and 
a good fat hen.” Afterwards, “ Six long-legged cranes, 
five pouting pigeons, four plump partridges, three 
squawking wild geese, two ducks, and a good fat hen.” 
Next, “ Seven green parrots, six long-legged cranes, 
five pouting pigeons, four plump partridges, three 
squawking wild geese, two ducks, and a good fat-hen.” 
Next, “ Eight screeching owls, seven green parrots 
six long-legged cranes, five pouting pigeons, four plump 
partridges, three squawking wild geese, two ducks, and a 
good fat hen.” Next, “ Nine ugly turkey-buzzards, 
eight screeching owls, seven green parrots, six long- 
legged cranes, five pouting pigeons, four plump par¬ 
tridges j three squawking wild geese, two ducks, and a 
good fat hen.” Lastly, “ Ten bald eagles, nine ugly 
turkey-buzzards, eight screeching owls, seven green 
parrots, six long-legged cranes, five pouting pigeons 


i 

I 









-- 












AMERICAN GIRL’S BOOK. 53 

four plump partridges, three squawking wild geese, two 
ducks, and a good fat hen.” 

All this must go round the whole company every 
•ime, and be repeated separately by each. If any one 
aesitates or leaves out any thing, or makes a mistake, 
she must pay a forfeit. 

The House that Jack built (which is well known to 
all children) may be converted into a similar play ; 
each of the company first repeating separately “ This 
is the House that Jack built and so on till they have 
got through the whole, adding more every time it 
goes round, and paying a pawn for every omission or 
error. 


26 . 


KING AND QUEEN. 

The company sit in two rows, facing each other. 
There must be an even number, as six, eight, ten, or 
♦welve. One row personates a range of gentlemen with 
a king sitting at the end. The opposite row is to con¬ 
sist of ladies, she at the head being queen. The king 









AMERICAN GIRL’S EOOK. 





1 



numbers all the gentlemen, 1, 2, 3, &c. and they must 
remember their numbers. The queen numbers the la 
dies, but all their numbers must be different from those 
of the gentlemen. For instance, if the gentlemen are 
1, 2, 3, 4, 5, the ladies must be 6, 7, 8, 9, 10. 

When all is arranged, the king and queen each call 
out a number. If the king calls No. 2, he who bears 
that title must start up and run all round the compa¬ 
ny. The queen must at the same time call out one of 
her ladies ; for instance, No. 8, and the lady must pur¬ 
sue the gentleman all round. If she catches him before 
he gets to the king, he pays a forfeit. They then 
resume their seats, and it is the queen’s turn to call 
first. She may call No. 10, and the king No. 4. The 
gentleman now pursues the lady, and if he catches her 
before she gets to the queen, she pays a forfeit. 

Sometimes, in this play, all the odd numbers, as 1, 3, 
5, 7, are allotted to the gentlemen, and the even num¬ 
bers, 2, 4, 6, 8, are given to the ladies. 


! 















27. 

THE DUTCH DOLL. 


All the company go out of the room, except two 
who are well acquainted with the play ; the others had 
better be ignorant of it. We will suppose that Fanny 
and Lucy are left together to prepare the doll, which 
doll is to be performed by Fanny. For this purpose 
she lies at full length under a table covered with a deep 
cloth, or that has large leaves descending neajly to the 
floor. Her face must be downwards. Lucy, having 
previously procured the necessary articles, dresses Fan- 



- 







\ o ! 



,56 


AMERICAN GIRLS BOOK. 


ny’s feet with a frock or petticoat, adding a cloak oi 
shawl and an old bonnet or hood, pinning and tying on 
the things so as to look something like a large and very 
dowdy doll. The company are then called in, and if 
they have not seen a Dutch doll before, are at a loss to 
conceive what it can be. Before they come in, Fanny 
must raise her feet so that the doll appears to stand up¬ 
right ; and as soon as they enter she must begin to 
kick her feet up and down and shuffle them about in 
such a way as to make t^edoll seem to dance and jump 
and bow, and play all sortsof antics, frequently seeming 
to knock her forehead against the floor. If the doll is 
well performed, it is very laughable, and if Fanny takes 
care to be well concealed under the table, no one unac¬ 
quainted with the play can guess that it is set in motion 
by her feet. She must be sure to lie on her face. 

If a boy is in company, he should be made to person 
ate the doll. 


28 . 


FARMERS AND MECHANICS. 

One leaves the room while the others fix on a trade 
which when she returns they must all endeavour to 


-- 























- 




AMERICAN GIRL’S BOCK. 57 

represent by their actions, so that she can guess foi 
what they intend themselves. When she guesses, the 
next in size or age goes out, and her companions try 
something else. If, on coming in, she finds all hei 
play-mates with chairs turned down which they push 
before them as if ploughing, or if they are tossing about 
their handkerchiefs with sticks as if making hay, she 
rightly guesses them to be farmers. If they are sitting 
on low seats and mending their shoes, she knows them 
to be cobblers, or if they are seated on the tables cross- 
legged and sewing, they are meant for tailors. They 
may pretend to be sawing and planing like carpen¬ 
ters, hammering iron on anvils or shoeing horses like 
blacksmiths, spreading mortar with trowels and climbing 
ladders like brick-layers building a house, &c. They 
may, if they choose, all work at different parts of the 
same trade, provided always that every one is a farmer 
a cobbler, a tailor, or whatever trade they have chosen 
for the whole. 

Ingenb'n children can make this play very amus 

mg. 










•g^no.- 


58 AMERICAN GIRL’S BOOK. 



29. 


SHE CAN DO LITTLE WHO CAN’T DO THIS. 

One who understands the play takes the tongs and 
jolds them in both hands, putting one hand on the 
head or knob of the tongs, and the other on one of the 
legs. She must knock the points of the tongs three 
times on the floor, saying, “ She can do little who can’t 
do this.” She then transfers them to her next neigh¬ 
bour, who, if unacquainted with the play, will not hold 
the tongs in the right way, and in both hands; thinking 
that it is only necessary to knock on the floor with them 
and repeat the words. If she holds them wrong, she 
pays a forfeit, and in this way the tongs must be hand¬ 
ed round to the whole company; each repeating the 
words, and knocking three times on the floor. If none do 
right, the proper way is not to be explained till the play 
is over, that the more pawns may be collected. 

If any one knows the play and does it rightly, she 
must not tell the others, till all have tried it. 

Simple as this play is, very few, who are not familiar 
with it, will chance to hold the tongs in the proper 
manner. 










30. 

BLINDMAN’S BUFF. 


One of the company must be blindfolded with a 
handkerchief, tied round her eyes in such a mannei 
that she cannot possibly see. She is then led into the 
middle of the room, and a rhyme is repeated while her 
companions are retiring 1 from her reach. She then 
goes about the room endeavouring to catch somebody, 
and her playmates try their utmost to keep out of her 




































way. No one, however, must leave the room, and no 
one must mischievously annoy the blind-girl by pinch¬ 
ing, pulling, or in any way teazing her. If she ap¬ 
proaches any thing that may hurt her, (the fire, for 
instance,) her companions must immediately call out to 
apprize her of her danger. It is better before the play 
begins, to take up and lay aside the hearth-rug, lest 
some one should catch her foot in it and fall. The 
fender also should be turned up on its two ends, as a 
sort of guard against the fire. When the blind-girl 
catches any one, she must endeavour to guess who it 
is, for which purpose she is allowed to pass her hands 
over the head and dress of her captive. If she cannot 
guess, she must let the prisoner go, and try to catch 
some one else. The first girl, that is caught and guess¬ 
ed rightly, is the next to be blindfolded. 



Uvample. 

Fanny. Wei!, Lucy, are you ready to be blindfolded? (Fanny ties 6 
handkerchief round Lucy's eyes.) There now. Are you sure you do not see ? 

Lucy. I never cheat when I play. 

Fanny. I know you are very honourable. But when Sarah Granby play* 
Blindman’s Buff, she always manages to slip up the bandage, in such a way, that 
she can see all the time, and catcli whoever she pleases. There now. give ms 
your hand. ( She leads Lucy into the middle of the room.) 

How many horses are in your father’s stable t 


C'f 












—■-*-**#£ 


a MEXICAN girl’s BOOK. 61 

0 

Lucy Three. 

Fanny. Of what colours are they ? 

Lucy. Black, white, and grey. 

Fanny. Turn round three times and catch who you may. 

(Lucy extends her bunds, and turns round three times, the girls all taking care to 
be out of her reach. She then gropes about for some time, and catches no 
one. Once she gets the shirts of Rosa's frock between her thumb and fin¬ 
ger, but her hold being very slight, Rosa easily disengages herself and 
makes her escape. Lucy then catches Ellen by the end of her sash, and 
Ellen gets away by untying the sash, and leaving it in Lucy's hand.) 

Lucy. I have somebody now. Why, no—I believe it is only a ribbon. Ah! 
tnere has been some trick. 

Jane. (In a low voice.) Ellen, is this quite fair ? 

Fanny. No, indeed it is not. However, we will pass it over. I know, Lucy 
‘ikes to be blindfolded. 

Jane. That’s more than I do. When I am blinded, I am afraid to move a 
step. But I see that Lucy rambles about quite briskly, notwithstanding the 
bandage over her eyes. 

Fanny. Hush! she will distinguish you by your voice. (Mary slips into a 
closet.) Now, Mary, come out of the closet. That really is not fair. 

Lucy. Ah ! I hear a cluster of you laughing in yon corner. I will be among 
you in a moment. 

(Lucy goes to a comer where several of the girls have retreated, and catches 
Isabel by the arm. The others, having crouched down , slip away, creeping 
along the floor.) 

Fanny. Well, Lucy ! who have you there 1 

Lucy. It is Mary. I know her by the stiffening in her sleeves. 

(They all laugh and exclaim, “ Oh, no. no!") 

Fanny. You are mistaken ; it is Isabel : she also has stiffened sleeves. You 
must let her go, and try to catch one some else. 

(Lucy releases Isabel, and goes about in quest of another. Anne hides behind 
the window curtain.) 













- 


- 


32 


AMERICAN GIRL’S BOOK. 


Lucr. Ah ! I am near the window. I feel the fringe of the curtain. And 
lome one is hidden behind it. ( She presses the curtain closely around Anne, who 
laughs.) That is Anne’s laugh. I have caught her in a trap. Come out, Miss 
Anne, it is your turn now. 

(She takes off the handkerchief, and blindfolds Anne.) 


SI. 


THE BELLS OF LONDON. 


This should be played in a field, or in some place 
where there is no danger of being hurt by falling. 

The two tallest of the company join their hands, and 
raise them high above their heads, while the others, 
(each holding the skirt of the one before her,) walk un¬ 
der in procession, as in the King and his Train. The 
two, that are holding up their hands, sing the following 
rhymes :— 


“ Oranges and lemons, 

Say the bells of St. Clements ; 
Brickdust and tiles, 

Say the hells of St. Giles ; 

You owe me five farthings, 

Say the bells of St. Martin’s ; 
When will you pay me ? 

Say the bells of Old Bailev ; 




- 













u 


1 


AMERICAN GIRL’S BOOK. 

When I grow rich, 

Say the bells of Shoreditch j 
« When will that be ? 

Say the bells of Stepney j 
I do not know, 

Says the great bell of Bow-*’ 


--*-*-*#£ 


PM J 


At the last line, they suddenly lower their arms, 
and endeavour to catch one of those that is passing 
under. Having each previously fixed on a name, (foi 
instance, one Nutmeg, the other, Cinnamon,) they ask 
their captive which she chooses, Nutmeg or Cinna¬ 
mon. Accordingly as she answers, she is put behind 
one or the other. When all have bee.n caught and 
placed behind, those at each end join hands, so as to 
encircle the two in the middle ; and they must wind 
round them till they get closer and closer. The rhyme 
“ Oranges and lemons,” &c. is then repeated ; and at 
the words “ Great bell of Bow,” those in the centre 
must give a sudden push and extricate themselves by 
throwing dovyn all the rest 




- 




























































































































AMERICAN LrlRL’s BOOK. 


6/5 


THE PRUSSIAN EXERCISE. 


All the children kneel down in a row, except one 
who personates the captain, and who ought to be a 
smart girl and well acquainted with the play, which is 
more diverting when all the others are ignorant of it, 
except the one at the head of the line. If the corporal, 
as this one is called, does not know the play, the captain 
must take her aside and inform her of the manner of 
conducting it. 

When all are ready, the captain stands in front of the 
line and gives the word of command, telling them al¬ 
ways to do something that has a diverting or ludicrous 
effect, when done by the whole company at the same 
moment. For instance : the captain gives the word to 
cough, and they must all cough as loudly as possible. 
They may be ordered to pull their own hair ; to pull 
their own noses ; to slap their own cheeks ; to clap 
their hands together ; to laugh ; to wink their eyes , or 
do any other ridiculous thing. All, however, must be 
done at once, and by the whole line, the corporal set¬ 
ting the example. 


F 


-—*^5 

























66 


AMERICAN GIRL’S BOOK. 





Finally, the captain orders them to “Present.” Each 
then projects forward one arm, holding it out straight 
before her. The next command is to “ Fire.” Upon 
which the corporal gives her next neighbour a sudden 
push, which causes her to fall against the next, and in this 
manner the whole line is thrown down sideways, one 
tumbling on another. 

This is rather a boisterous play, but it can be made 
very laughable; and there need be no fear of the chil¬ 
dren getting hurt in falling, if they play on the grass, or 
in a hay-field, or if they take the precaution of laying 
cushions, pillows, or something soft, at the end of the 
line to receive the one that falls last; she being in the 
most danger. 

There are few of these diversions that will not end in 
hurts and disasters if played rudely and mischievously. 
Put, if conducted with proper discretion, no objection 
need be madp to them. 


) 




DRESSING THE LADY. 

First decide that a certain colour shall r> U be men¬ 
tioned, under penalty of a forfeit; for instance, you 


j^rrr^~ 

























T>-*r 


XJU 


AMERICAN GIRL’S BOOK. 67 

may interdict either green, blue, yellow, or pink. One 
asks, “How shall my lady be dressed for the ball?” 
Each in turn proposes an article of dress ; if any one 
mentions the forbidden colour, she must pay a forfeit. 
When the dress of the lady is completed, the pawns 
must be sold. Sometimes two colours are prohib¬ 
ited. 


Example. 


Fanny. What colour shall we avoid mentioning ? 

Lucv. Black. 

Fanny. Let us forbid white also. We shall collect the more forfeits if two 
colours are excluded. Therefore let no one mention either black or white 
How shall my lady be dressed for the ball ? 

Lucy. She shall have a yellow silk frock. 

With green satin trimming. 

Pearl necklace and bracelets. 

White satin shoes 

Ah ! a forfeit, already. You should not have said, white satin. 

Oh ! Why did I not thipk of black satin shoes ! 

That would have been as bad. You forget that black is prohibiten, 
»a well as white. 

Susan. Well, take these scissors as a forfeit. Come, let the play go on. 

My lady shall have a blue gauze scarf. 

Pink ribbon to loop up her sleeves. 

White kid gloves. Long gloves. „ 

White kid. A foifeit again. 

But nobody wears coloured gloves at a ball. 

Then you need not have mentioned the gloves. 


Mary. 

Lydia. 

Susan. 

Fanny. 

Susan. 

Fanny. 


Jane. 

Anne. 

Ellen. 

Fanny. 

Ellen. 

Fanny 














d 

•< 


AMERICAN GIRL’S BOOK, 




Ellen. This card will do for a forfeit 

Isabel. My lady shall have scarlet flowers in her hair. 

What a variety of colours! She will look like a great bunch ol 

flowers. 

Catherine. A purple velvet reticule. 

Rosa. A black velvet belt. 

Fanny. Black velvet— black —a forfeit, Rosa. 

Rosa. But no other velvet would look so well for a belt as black. 

Fannv. No matter ; you should have said something else. Where is vout 
forfeit ? 

Rosa. Take this chestnut. 

Fanny. Well, I believe my lady is sufficiently drest ; so, Lucy, the play 
may go round again, and you may dress yours. 

Lucy. This time the forbidden colours shall be blue and green. So “ how 
shall my lady be dressed lor the ball ?” 


34 


fHE THRONE OF COMPLIMENTS 


The girls take it in turn to be the Lady Fair, begin¬ 
ning with the tallest, who takes her seat on a chair ai 
the upper end of the room. The others all remain a! 
the lower end in a row, except one who stands in the 
middle of the apartment and is called the Judge. Wher 
all are ready, every one makes a low curtsy to the lady 
°"d the judge says : 









































AMERICAN GIRL’S BOOK. 


69 


4 The Latly Fair sits like a queen on her throne. 

Give her your praises, and let her alone.” 

Each of the girls in turn goes up to the judge, and 
whispers something in praise of the Lady, taking care 
to remember what it is. When the compliments have 
all been paid, the judge repeats them aloud, one at a 
time, and the Lady Fair endeavours to guess the author 
of each compliment, and the judge tells her whether she 
is right or wrong. Whenever the Lady guesses wrong, 
she pays a forfeit, all of which she is to redeem before 
another takes the throne. The most accurate way of 
recollecting the compliments is for the judge to have a 
slate, and write them all down as she hears them 


Sample. 

Lucy. Fanny, you are the tallest, so you must be our first Lady Fan ; and, 
as I am the next in height, I will be Judge. Come, girls, range yourselves in a 
row at the bottom of the room, while I stand in the middle with my slate, and 
Fanny takes her seat at the upper end. Are you all ready i Then let us make 
our curtsies. (They curtsy to Fanny.) 

“ The Lady Fair sits like a queen on her throne, 

Give her your praises and let her alone.” 

{The girls go up one at a time to Lucy> and whisper to her something tn com 
pliment to Fanny which the Judge writes down on her slate.) 

Well, have you all paid your compliments ? Then I will read them to th 
Lady Fair (She reads.) 























—o—-——— 


s s a 


((AT 1 '' 


7 0 


AMERICAN GIRL’S BOOK. 


Somebody says, the Lady Fair is very good-tempered. 

Fanny. That was Susan. 

Lucy. No, it was Lydia : So, a forfeit from your ladyship. 

Fanny. As the forfeits will be all mine, and as I expect to have many, 
will give for each forfeit a flower from this nosegay. So here is a rose¬ 
bud. Now go on. 

Lucy. Some one said, the Lady Fair had very bright eyes. 

Fanny. That was Jane. 

Lucy. No, it was Isabel. So, another forfeit. Someone says, the Lady 
Fair has beautiful ringlets. 

Fanny. That was Catherine. 

Lucy. 'Yes, it was Catherine. Some one says, the Lady Fair sings very 
well. 

Fanny. Rosa said that. 

Lucy. No ; Susan said it. So a forfeit. Somebody says, the Lady Fair 
dances gracefully. 

Fanny. That was Mary. 

Lucy. No—it was Ellen. A forfeit again. Some one said, the Lady Fair 
always minds her stops when she reads aloud. 

Fanny. That must be Jane. 

JjUcy. No ; it was Rosa. So a forfeit again. Somebody said, the Ladv 
Fair takes short stitches when she sews. 

Fanny. Anne must have said that. 

Lucy You are right this time ; it was Anne Some one said, the Lady Fait 
is clever at all sorts of plays. 

Fanny. That was Mary. 

Lucy. No, it was myself. That is the compliment that 1 have written at 
the close of the list. But, as you guessed wrong, one more forfeit. You have 
sow six pawns to redeem. When that is done, I shall have the honour jf being 
Lady Fair, and Susan will perform the Judge. 


iL^TOr-«r- 
















AMERICAN GIB L ’ S ROOK. 


71 


3d. 


THE APPRENTICE. 

She that begins the play says, that she apprenticed 
ner son to a tailor, shoemaker, grocer, or any other 
mechanic or tradesman, and she mentions the initial 
letters only of the first article he made or sold. The 
other girls endeavour to guess her meaning. If all are 
unable to discover it, and therefore give it up, she again 
apprentices her son. Whoever guesses rightly, takes 
her turn. This can be played by two only, or by any 
number* 

Hjramplc. 


Fanny. I apprenticed my son to a grocer, and the first thing he sold was C. 

Mary. Coffee—coffee. 

Fanny. No; I did not mean coffee. 

Jane. Chocolate. 

Fanny. Right. Now it is your turn. 

Jane. I apprenticed my son to a confectioner, and the first thing he sold 
was M. S. 

Lucy. Oh! Mint-stick—mint-stick. Well, I also apprenticed my son to a 
confectioner, and the first things he sold were B. A. 

All. B. A. We can never guess B. A. 

Lucy. Try. 

Elien Oh! Burnt Almonds. I apprenticed my son to a cake-baker, and 
the first things he made were G. N 





















-- 


- 


72 


AMERICAN GIR1/S ROOK. 


Lucy. G. N. What can G. N. be ? (They all ponder awhile ^ and at last 

igree to give it up.) 

Ellen. Gingerbread-nuts. 

Mary. Oh ! why did not I think of them, when I like them so much f You 
again, Ellen. 

Ellen. I apprenticed my son to a gardener, and the first root he planted 
was a T 

Mary. A tulip. 

Ellen. Yes ; a tulip. 

Mary. I apprenticed my son to an iron monger, and the first thing he sold 
was an F. P. 

Jane. A frying-pan.—I apprenticed my son to a cabinet-maker, and the firs 
thing he made was a (J. T. 

Fanny. A Centre-Table. I apprenticed my son to a stationer, and the first 
thing he sold was S. W. 

Ellen. Sealing-Wax. I apprenticed my son to a stationer, and the first 
thing he sold was an A. 

Mary. An A—an A. I give it up. 

All. (after a pause.) We all give it up. 

Ellen. An Almanack. 

Mary. I thought only booksellers sold almanacks. 

Ellen And stationers also. When 1 go into a store, I always took round 
attentively, and try to remember every thing I see there. 


36 . 


THE TRAVELLER. 


One personates the Traveller, others take the names 
of Landlord, Landlady, Chambermaid, Waiter, Ostler, 
and Boot-cleaner, and the rest are denominated Horse 
Saddle, Bridle, Oats, Boots, Slippers, Supper, Candle- 











Bed, &c.; all the names having reference to an inn, 01 
tavern, and to the probable wants of a traveller. 

When all the others are seated round the room, the 
Traveller comes in, and says, “Landlady, can I have 
supper and a bed here to-night V* Upon this, Land¬ 
lady, Supper, and Bed all start up together. The 
Traveller may then say, “ Landlord, I want a bottle of 
cider and the newspaper.” If any are named Cider and 
Newspaper, they must start up with the Landlord. The 
Traveller then calls the ostler, to take the saddle and 
bridle off his horse, and feed him with oats. Upon 
which Ostler, Horse, Saddle, Bridle, and Oats, all start 
up as soon as they hear their names. The Traveller 
then desires the waiter to bring him his supper, and 
then Waiter and Supper respond. Lastly, he calls the 
chambermaid to bring him a candle, and the boot-boy to 
bring him slippers and take his boots; upon which, 
Chambermaid, Candle, Boot-boy, Slippers, and Boots all 
rise. If any one omits getting up, when her name is 
mentioned by the Traveller, she pays a forfeit. 

With a smart Traveller, this play may be made very 
amusing. A thing may be said that brings in the names 
of the company. 

<9 



- 















































































































































MAGICAL MUSIC. ’ 


One of the company leaves the room, and the others 


fix on something to be done by her when she returns, 


such as looking in the glass, snuffing the candle, sweep¬ 
ing the hearth, pouring out and drinking a glass of 
water, reading a book, <fcc. After they have come to a 
decision, she is called in, and tries to discover her allotted 
task by attempting whatever she thinks most probable. In 
the mean time, one of her companions is seated at the pi¬ 
ano, and strikes a key slowly as long as the experiments 
are going wrong. When they seem likely to succeed, she 
touches the key more rapidly ; and when exactly right, 
she strikes as fast as possible. If there is no piano in 
the room, a hand-bell rung slowly or rapidly will do as 
well, or the striking of a large door-key against the 
tongs or shovel may be substituted. 


Hjrample. 


Maria , Julia , Sophia , Harriet , Louisa , Helen , and several others , all seated in a row , 


and arranged according to their size. 


Maria. Harriet, as you are the tallest, you must go out first, and wait in the 
entry till we have decided on something for you to do. Shut the door very tightly 
Harriet, and be sure not to listen 


- 














76 


AMERICAN GI R L’S BOOK. 


\ 


Harriet. Can you suppose 1 would be guilty of any thing so dishonourab.9 


r She goes out.) 


Maria. Now what shall be her task? 

Louisa. Let her take up a book, and read in it. 

Helen. Let her raise the sash, and look out of the window. 

Sophia. Let her go to the side-board, pour out a glass of water, and drink 
some of it 

Maria. Yes, that will do very well. Julia, ds you sit down to the piano. 

(Julia takes her seat at the instrument, and Maria goes to the door and calls 
in Harriet, who immediately approaches the looking-glass to survey her¬ 
self. This not being right, Julia touches the piano very sloicly. Har¬ 
riet then goes to the table and takes up a'book ; the piano is still slow. 
She then attempts to look out of the window; the piano continues slow. 
JVext she goes towards the sideboard , and Julia strikes the piano a little faster. 
Harriet takes up the water-pitcher, and the piano goes faster still. She 
pours some water into a glass , and the piano is still faster ; she drinks the 
water, and the piano goes as fast as possible, the girls exclaiming, “ That’s 
right, that’s right.” 

Maria Sophia, you are next. (Sophia goes out ' 

Helen. Let Sophia’s task be to play a little on the piano. 

Maria. Excellent. It will be a long time before she thinks of that. (Open¬ 
ing the door.) Come in, Sophia. 

(Sophia sweeps the hearth, snuffs the candles, removes the cushion from the sofa, 
piles one stool on another, opens a work-basket and begins to sew , dances a 
few steps , and attempts several other things, the piano all the time going 
slowly. At last, the right thought happens suddenly to enter her heaa 
She approaches the piano, and Julia touches it faster. Sophia then goes 
behind Julia, who is seated on the music-stool, and stretching out her arms 
over Julia’s shoulders, she plays with both hands a few lines of a popular 
tong, singing the air: Julia all the time touching the piano as fast as slit 
can, but very softly. 


\ 



f^^rnr- 



i 












AMERICAN GIRL’S BOOK 



Maria. Well, Sophia, you have guessed it at last. I was alraid, for awhile 
rou would be obliged to give it up in despair 


38 . 


CHITTERBOB. 


The company are to sit in a row, and the following is 
to be repeated by each in turn, without the slightest 
variation or mistake. 


There was a man and his name was Coo, 
He had a wife and her name was Mob, 

He had a dog and his name was Bob, 

She had a cat and her name was Chitterbob 
“ Bob,” says Cob ; 

“ Chitterbob,” says Mob. 

Bob was Cob’s dog ; 

Chitterbob was Mob’s cat<- 

Cob, Mob, Bob andr Chitterbob. 


If, in reciting the above lines, any mistake is made, 
nowever slight, the delinquent is to have a long piece 
of paper twisted into her front hair in such a manner 
as to stand out and resemble a horn. If the play goes 
round several times, it is probable that most of the play¬ 
ers will have three or four horns on their heads. 

Some paper should be previously prepared. 


» 










AMERICAN GIRL’S BOOK. 



These horns answer the same purpose as pawns 01 
forfeits, and are to be taken off one by one when re¬ 
deemed. The pawn-seller is as usual to be blindfolded, 
and the crier of the pawns is to touch one of the horns 
and say, “ How shall this lady get rid ol her horn ?” 
The pawn-seller then proposes one of the customary 
methods. 


39. 

HOW DO YOU LIKE TT? 

j One leaves the room while the others fix on a word 

that has two or more meanings,, as sash (of a window, 
or of silk,) corn a sort of grain, and corn on the toe, &c. 
The absentee is then called in, and goes round the com¬ 
pany inquiring of each, “ How do you like it ?” All 
the replies must be in reference to the signification of 
the word in one or other of its meanings. She whose 
answer causes it to be rightly guessed, is the next to gc 
out 

: 

Uyample. 

Maria. Woll, now we have sent Julia into the entry, what word shall we 
hx on ? 























AMERICAN GIRL’S BOOR. 


79 


Louisa Box— that has several meanings : box, a chest ; box, at the theatre , 
jox. a gn/den plant. 

Maria. Right Box it shall be. Come in Julia. ( Julia comes hi and ad 

iresses Maria, j 

Julia. Well, Maria, how do you like it ' 

Mafia. I like it of red morocco. 

Julia. How do you like it, Helen f 
Helen. I like it green and flourishing. 

Julia. And you, Louisa ? 

Louisa. I like it front and not crowded. 

Julia. Of red morocco—green and flourishing —front, and not crowded —wha‘ 
can it be ! Well, Sophia? 

Sophia. Of painted velvet. 

Julia. How do you like it, Emily? 

Emilv. Filled with agreeable people, who are attentive to what they see. 
Julia. Of painted velvet—filled with agreeable people— 1 am more puzzled 
than ever. Well, Caroline, how do ijou like it ? 

Caroline. Full of sugar-plums. 

Julia. Ah! I know what it is— a box— a box—I wonder I was so long 

guessing. 

Maria. Come, Caroline, you must go out, as Julia took the idea from your 
answer. 

Caroline. Do not give me any thing that is very difficult. (She goes out.J 
Maria. What word shall we have for her? 

Julia. As Caroline is the youngest among us, we will, as she says, give hei 
ii mething easy. 

Sophiw Lock—lock, a fastening—a lock of hair. 

Maria. That will do. Come in, Caroline. (Caroline returns.J 

Caroline. How do you like it, Maria? 

Maria. Of brass. 

Caroline. Well, Helen? 

Helen. Soft and silky. 

Caroline. Ol brass—soft and silky—how can it be noth! Now, Louisa ? 
Louisa. Of jet black. 








30 


AMERICAN GIRL'S EOOK 


Caroline. Well, Sophia. 1 ' 

Sophia. I like it with a cut-glass hanule. 

Caroline. What can it he ? How do you like it, Emily i 
Emily. Curled in ringlets. 

Caroline. It must then be hair. And yet of brass, and with a glass-handlt 
—Oh ! a lock, a lock. 

Emily. You are right. As you guessed it from me, I will go out. 


40 . 


WHAT IS MY THOUGHT LIKE ? 

The company having taken their places, the one at 
the head of the row thinks of a word; for instance, the 
sun, the river, a bonnet, a frock, and asks the others 
“ what her thought is like ?” The first reply is made 
by the one next to the thinker, and so on till each has 
in turn given an answer. As none of them know the 
thought, the reply is of course always at random, and 
may be “ like a pin,” “ like a glove,” “ like the w«nd, 
&c. The thinker must remember by whom each an 
swer was given ; and when all have made their replies, 
she proclaims her thought, and each must give a reasor 
why her answer resembles the thought. Whoever is 


































- 





AMERICAN GIRL’S BOOK. 


81 


unable to find a reason must pay a forfeit. Afterwards 
it is the turn of the one next to the head to have a 
thought. 


Example. 


Maria. Julia, what is my thought like t 

Julia. Like rain. 

Maria. Louisa, what do you say ? 

Louisa. Like a flower. 

Maria. Well, Charlotte ? 

Charlotte. Like a bell. 

Maria. Sophia you are next. 

Sophia. Like an owl. 

Maria. Come, Helen? 

Helen. Like a star. 

Maria. And now, Emily ? 

Emily. Like a cheese. 

Maria. Rain—a flower—a bell—an owl—a star—-a cheese. 

Julia. I cannot imagine what thought can be like all these things. 

Maria. My thought was the moon. Julia, why is the moon like rain ? 

Julia. Because it raises the rivers. You know the moon, acting on the 
waters, causes the tide to rise, and that the waters will rise also when swelled 
by the rain. Do not you recollect reading the other day in the newspaper an 
account of a great freshet, that overflowed the banks of a creek, and carried tree* 
and houses away with it? 

Maria. O yes; your explanation is very satisfactory. And now, Louisa 
why is tlje moon like a flower? 

Louisa. Because there is every day some change in it. 

Maria. Charlotte, why is the moon like a bell ? 

Charlotte. A bell—a bell—I am sure I can never find any resemblance be 
•aveen the moon and a bell. I know not what to say. I give it up. 


- 


Maria. Then you must pay a forfeit 


fi 


*— 









Charlotte. Here,take my handkerchief. 

Maui a. Sophia, why is the moon like an owl? 

SorHiA. O, that is easy enough. Because it does not appear in day 
ight. 

Maria. Helen, why is the moon like a star? 

Helen. Because it shines only at night. That comparison is very easy 
Jso. 

Maria. And now, Emily, why is the moon like a cheese? 

Charlotte. I suppose she will say, because it is in the shape of one. 

Emilv. No, I will not; for a cheese is circular, but not globular. It is flax 
m both sides, and the moon is round like a ball. 

Charlotte. Well, I have seen little Dutch cheeses that are as round as 
balls. 

Emily. Pho—I will try to say something better than that. (She pauses.) 

Maria. Come, Emily, have you done considering? 

Emily. The moon is like a cheese, because it is largest in the east. That 
is, the moon looks largest when rising in the eastern part of the sky, and the 
largest cheeses are made in the eastern part of the Union. 

Maria. That’s a very far-fetched explanation. However, we’ll accept it. 
Julia, it is now your turn to have a thought. 

Julia. (after a moment of meditation.) Well then, Maria, what is my thought 
like ? 



Maria. Like an amiable woman 
Julia. You are next, Louisa 
Louisa. Like a large plum-cake. 

Julia. What is my thought like, Charlotte ( 
Charlotte. Like sand. 

Juli a. What is it like, Sophia ? 

Like a rose. 

Well, Helen? 

Like dancing. 

And now, Emily, what is my thought like' 
Like a lion. 

My thought is a rose. 

Ah, a rose. How strange ! 



,1 






fj—- 





AMERICAN G I R L’S BOOK 


S3 


Julia. 1 have now to learn why a rose is like an amiable woman, a large 
p'um-oake, sand, dancing, and a lion. Maria, what do you say? 

Maria. The rose is like an amiable woman, because her sweetness remains 
tsng after her beauty is gone. 

JULIA. Louisa, why is a rose like a large plum-cake? 

Louisa. Ah, I am very much puzzled. Because roses and plum-cakes are 
indispensable at evening parties. I can think of nothing better. 

Julia. Well, Charlotte, why is a rose like sand? 

Charlotte. Because it is easily scattered by the wind. 

Julia. Sophia, your comparison happened accidentally to be the same as my 
thought— a thing that very rarely occurs. However, when it does, the penalty 
Is a forfeit. 

Sophia. Do not call it the penalty ; for my having chanced unwittingly to fix 
upon a rose, as you did, is a misfortune, and not a fault. However, take my 
5m as a forfeit. 

Julia. Helen, why is a rose like dancing? 

Helen. Because it is only becoming to young people 

Julia. And why, Emily, is a rose like a lion? 

Emilv Because it is one of the emblems of England. 


41 


THE LAWYER 


This must be played by an odd number, as seven, 
nine, eleven, thirteen, that there may be one to person- 


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84 


AMERICAN GIRL’S BOOK. 



ate the lawyer, after all the others have arranged them 
selves in pairs. 

The company must seat themselves in two rows 
facing each other, each girl taking for a partner the one 
opposite. She, that performs the lawyer, walks slowly 
between the lines, addressing a question to whichever 
she pleases. This question must not be answered by 
the one to whom it is addressed, but the reply must be 
made by her partner. If she inadvertently answers 
for herself, she must pay a forfeit; so also must her 
partner if she forgets or neglects to answer for her com¬ 
panion. 

22trample. 

Maria. Now let us arrange tho chairs in two rows, that you may all take 
your seats facing each other. Julia, you shall be Hairiet’s partner ; Louisa 
'hall be Charlotte’s; Helen shall be Emily’s; and Matilda be Eliza’s I will be 
the lawyer and ask the questions. Each must remember that she is not to reply 
herself, but she is to let her partner answer for her. 

(They seat themselves in two rows. Maria goes to the head of the line ant 
stands first between Julia and Harriet.) 

M iria. Julia, do you go into the country to-morrow ? 

Harriet. No ; she does not go till Thursday. 

Maria. Louisa, is your new work-box of velvet or morocco 

Charlotte. Her new box is of beautiful painted velvet. 

Maria. Helen, have you begun to learn French ? 






















juuJ 


AMERICAN GIRLS BOOK. 


85 


Emily. Yes, she began last week. 

Maria. Matilda, has your cut finger got well? 
i^liza. Not quite. 

Maria. Eliza, what is your last new book? 

Eliza. Tales for Ellen. 

Maria. Ah ! a forfeit. You should have waited till Matilda replied 


for you. 


Eliza. There, there, you may take my shoe. 

Maria. Eliza, which of the Tales for Ellen do you like best ? 

Matilda. The Little Blue Bag. 

Eliza. This time I was on my guard not to answer. 

Maria Emily, is not your frock too tight? 

Helen. No, quite the contrary. 

Maria. Louisa, which do you prefer—macaroons or rock-cakes? 

Louisa. Macaroons, certainly. 

Maria. A forfeit — a forfeit —you should not answer for yourself. 

Louisa. Here is my waist-ribbon. (Taking it off.) 

Maria. Harriet, did you ever before play at the Lawyer ? 

Julia. Yes, frequently. 











42. 

THE ELEMENTS. 


A handkerchief is pinned up into the shape of a 
round ball. The girls sit in a circle. She, that is to 
begin the play, takes the ball and throws it to one of 
her companions, calling out either “earth,” “air,’ 






'5w*y rr ~‘— 










AMERICAN GIRL’S BOOK. 


S7 


* waterfire being omitted, as that element has no 
inhabitants. The girl to whom the ball is directed 
must, on catching it, reply by giving the name of an 
animal, proper to the element that has just been men¬ 
tioned. If the word is “ air,” the answer must be 
“ eagle,” “ vulture,” “ hawk,” or any other bird. If the 
word is “ water,” the reply may be “ whale,” “ shark,” 
“ porpoise.” If the element is “ earth,” the answer 
must be the name of a beast, as “ lion,” “ tige r ” H bear.” 
&c. If she that is addressed does reply promptly, 
or makes a mistake and names a bird when she should 
have mentioned a beast, she is to pay a forfeit. The 
one, that receives the ball, then throws it to another, 
calling out one of the elements, and so the play goes 
round. 


Hpample. 

Maria. (Throwing the ball to Helen.) Earth ! 

Helen. Panther. (She throws the bull to Louisa.) Air! 

Louisa. Woodpecker ! (She throws it to Julia.) Water! 

Julia. Shad. (Throws it to Sophia.) Water! 

Solhia. (Starting.) O, what am f thinking of? Turkey—turkey— 

Maria. Ha, ha, ha ! Do turkies live in the water ? 

Soi hia. O, no ! I meant turtle. However, I see I am too late. Here !■ 
his pencil as a forfeit. (She throws the ball to Maria.) Earth ! 

Maria. Buffalo. ( Throwing the ball to Harriet.) Air! 

Harriet. Mocking-bird. (Throws the ball to Emily.) Water! 

Emily. Rock-fish. (Throwing the ball to Charlotte.) Air' 



-*-*.*£#£ 









rr-5^-— 


88 i MERIC aK GIRL’S BOOK. 

Charlotte. Duck. 

Helen Now, Charlotte, that does not seem exactly right. A duck ie 
aird, to be sure, but does it ever fly in the air! Earth is its proper abode . 

Charlotte. You are very particular. Do not wild-ducks fly in the air . 
And very high too, arid in large flocks. 

Helen. Then you should have said “ wild-duck.’ 

Emily. And ducks also swim in the water. 

Maria. Well, I believe we must admit the word “ duck” as a sufliciently good 
answer, whether the word is air, earth,or water; ducks being found in all those 
three elements. 

Helen. But always say “ rciid-duck,” if the word is “ air.” 


43 . 


THE SECRET WORD. 

Ore of the company leaves the room, and the others 
fix on a word; such as “ like,” “ care,” “ sight,” “ leave,” 
“ hear,” &c., which is to be introduced into all their 
answers to the questions she must put to them on her 
return. When the word is decided on. she is called in, 
and asks a question of each in turn. In replying, every 
one must contrive to use the secret word without em¬ 
phasizing or making it conspicuous. If the questioner 
remarks the frequent recurrence of the same word in 
the answers, she will easily be able to guess what it is. 
The one, from whose reply she has made the final dis 


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AMERICAN GIRL S BOOK 


89 


covery, then in her turn leaves the room while the nex': 
word is fixed on, and on her return becomes the ques 
tioner. 


IEtrample, 


Maria. Do you go out, Emily. (Emily leaves the room.) Now what shall 
he the word ? 

Helen. “ Fear,” or “ love.” 

Julia. Will not those words he too conspicuous? Let us try “ like.” 

All. “ Like—like”—let it be “ like.” Come in, Emily. 

Emily. (returning.) Maria, do not you think the weather is very warm 
this evening? 

Maria. Not warmer than T like it. 

Emily. Julia, are you fond of water me<un? 

Julia. No—I like cantelope better. 

Emily. Helen, have you read Mrs. Hofland’s Daughter of a Genius? 

Helen. Yes, and I do not like it so well as her Son of a Genius. 

Emily. Matilda, were you up early this morning? 

Matilda. Very early— I always like to rise with the lark. 

Emily. Harriet, did you make that reticule yourself? 

Harriet. I did. I like to make reticules, pincushions, needle-books, emery 
bags, and every thing of the sort. 

Emily. “ Like”—I have guessed it. “ Like” is the word. 

Harriet. So it is. Now I will go out. (&'begoes.) 

Charlotte. “ Saw”—let “ saw” be the word. 

Maria. Very well. Come in, Harriet. (Harriet comts in. 1 

Harriet. Maria, when did you see Clara Simmons? 

Maria. I saw her the day before yesterday, when I was walking with Julia 
Harriet. Julia, was Clara Simmons quite well ? 

Julia. Quite; 1 never saw her look better. 

Harriet. Louisa, are you not very much pleased with your nandsome ntw 
Jr a wing-box ? 


H 


l 

































9U 


AMERICAN GIRLS BOOK. 


Locjsa. Very much. But I saw one in a store yesterday that was still .now 
complete than mine. 

Harriet. Charlotte, are you acquainted with Laura Morton ? 

Charlotte. I saw her once at a dancing-school ball, but I have no acquain 
tance with her. 

Harriet. Emily, do not you think the new table in your honey-suckla 
arbour is quite too high ? 

Emile. Yes ; but the carpenter is coming to-morrow to saw off a piece from 
each leg, and then it will be a proper height. 

Harriet. “ Saw”—“ saw” is the word. 

Maria. Ha, ha, ha. Emily, you had better not have used the word saw id 
that sense You sec, Harriet guessed it immediately. 

Emile. No matter. I have not the least objection to going out again. 


44. 


MANY WORDS IN ONE. 



One of the company having left the room, the others 
fix on a word for her to guess. The word may be 
“ Cake.” She is called in, and stops before the first 
one in the row, who says “ Cap.” She goes to the 
next, who says “ Apple the third says “ Kettle,” and 
the fourth says “ Egg each taking care to mention a 
word whose first letter is one that is found in the word 
Cake, and to say them in regular order. The 
guesser, having heard all these words, pauses to think 
of their initial letters, and finds that, when put together 



































AMERICAN GIRL’S BOOK. 


91 


■JUU 


/ 


they are C,A,K,E, and compose the word “ Cake,” 


which she immediately pronounces ; and it is then the 
turn of the one at the head of the row to go out while a 


word is proposed. If most of the company are unac¬ 
quainted with the play, the one at the head need not 
explain at first the manner in which the word is guess¬ 
ed ; but she had better tell her companions beforehand 
what words they are to say when the guesser comes in, 
and then they will be surprised at her guessing, not 
thinking that it is from putting together the initial 
letters. 


SEjrample. 


Maria. Julia, you know this play, so you had hotter be the first to go out. 
(Julia leaves the room.) Now we will fix on the word Rainbow for Julia to 
guess. Are any of you acquainted with the play ? 

All. I am not—I arn not— 

Maria. Very well, then I will tell you what words to say when Julia pre¬ 
sents herself before you. If you all knew the play, you might choose your own 
words. I myself will say “Rose.” Sophia, do you say “Arrow.” Emily, 
your word may bo “ Ice.” Caroline’s may be “ Nutmeg.” Louisa’s may be 
'» Bonnet.” Charlotte’s may be “ Orange,” and Harriet may say “ Wafer.” 
Come in, Julia. Now be sure to remember your words. (Julia returns.J Well, 
lulia, my word is Rose. 

(Julia goes all along the row , and as she stops before each they say the wora 
allotted to them.) 

(Sophia. Arrow. 

Emily. Ice 



« 3 ** 


—*-*-*£$S 























i!M 


Tmr- 


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92 


AMERICAN GIRL'S BOOK. 



Caroline. Nutmeg. 

Louisa. Bonnet. 

Charlotte. Orange. 

Harriet. Wafer. 

(Julia ■pauses a moment , and finds that the initial letters of all these words mah 
RjSIJVBOIV.) 

Julia. Rainbow—the word is Rainbow. 

All. So it is— 

Caroline. I cannot imagine how you could find it out. 

Emilv. I think I can guess the mode of discovery. However, I will not 
disclose it. 

Harriet. I believe I can guess it too. But I also will not tell. 

Charlotte. Well, it is a mystery to me. 

Julia, ft will not be when the play has gone on a little longer. You wil 
find it out by practice. Come, Maria, you are to be the next guesser 


45 . 

TI1E WATCH-WORD. 

One of the company must leave the room, while an¬ 
other touches some article in her absence, which she 
must endeavour to guess on her return. Before her de¬ 
parture, the mistress of the play takes her aside and • 
whispers to her the watch-word, meaning that when she 
hears her ask, “ is it this ?” she may be sure that she 
points to the object which has been actually touched 
but, on the other hand, the question “ is it that ?” re- 
fers to the things that have not been touched. 










- 


AMERICAN GIFL’s BOOK 


93 


H^am pie* 


Maria Louisa do you go out, but first let me say something to you in pri¬ 
vate. (She takes Louisa aside , and whispers to her , saying ,) Julia will touch 
something while you are gone, and when, on your return, I point to different 
things and ask, “ is it that ?” you may he sure I am not directing you to the right 
object, and you must say “ no.” But when I ask, “ is it t/tis?” you may say, 
“ yes,” for you may be sure that I then mean the thing that Julia has actually 
touched. Go now, remember that the watch-word is “ this,” and reply accord¬ 
ingly. ( Louisa goes out.) Come, Julia, what will you touch ? 

Julia. There, I touch the work-basket. Come in, Louisa. (Louisa re- 
*urns.) 

Maria. ( Pointing to a book.) Is it that? 

Louisa. No. 

Maria. (Showing a pin-cushion.) Is it that ? 

Louisa. No. 

Maria. (Pointing to a newspaper.) Is it that? 

Louisa. No. 

Maria. (Showing a work-bor.) Is it that? 

Louisa. No. 

Maria. (Pointing to a basket.) Is it this 1 

Louis a. Yes. ( The other girls, being unacquainted with the play, look surprised ) 

Charlotte. Well, it really was the basket that Julia touched. 

Helen. How could Louisa possibly know ? 

Harriet. Ilow could she be sure that Julia had not touched any of the oth¬ 
er things that were mentioned ? 

Mari a. Well, Harriet, you shall go out next. So first come aside with me, 
and I will let you into the secret. [By the bye, it must be remembered, that in 
'.his play, no one goes out twice.] 

(She takes Harriet to the other end of the room, and whispers to her that, the watch- 
word will now be “ that.” Harriet goes out , and while she is away, Char¬ 
lotte touches the lamp ; and on her return, Maria questions her for awhile by 
askinw, “ is it this?” to which, of course , Harriet answers , “ no ,” but whet 
Maria inquires, “ is it that ?” as she poin's to the lam], Harriet knows tlut 
she may say “ yes ” 










THE NEWSPAPER. 

This play seems, at first, to be very trifling and n 
diculous, but, if well managed, it is extremely diverting, 
and excites much laughter. Any number may engage 
in it. 

One is appointed to read the newspaper, and each ot 
the others choose a trade ; for instance, that of baker, 
butcher, tailor, shoemaker, or grocer. They all seal 



























themselves in a row, or in a half circle, and the reader 
calces ner place in front. She selects from the paper a 
piece of news (the more important the better), and reads 
it in an audible and distinct voice, stopping frequently 
in the midst of a sentence and looking steadfastly atone 
of her companions. She that is looked at by the reader 
must instantly fill up the pause with one or two words, 
which refer to the trade she has chosen. The reader 
then proceeds to finish the sentence and begin another, 
stopping at intervals as before ; her companions, each 
as she looks at them, supplying the pauses with some 
allusion to their trades. Whoever is unable to do so, 
promptly and without mistake, must pay a forfeit. 


Hp.imple 


.Maria. Come, dear girls, take yoor seats. flero is a newspaper, containinj 
an account of the French Revolution of July, 1830. I am going to rean—men* 
fore make haste and choose your trades. 

Julia. I will keep a china-store. 

Sophia. I’ll be a grocer 
Emily. I a cook. 

Louisa. I’ll keep a dry-goods store, 

Charlotte. I will be a butcher. 

Clara. And I a mantua-maker 





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96 


AMERICAN GIRL’S BOOK. 


—- 



Maria. (Reading the nets,paper.* j “ Early in tho morning, the whole”- 
" looking at Julia )— 

Julia. Dinner-set— 

Maria. “ Wa 3 in motion Detachments from the suburbs haa fttt them 
•elves in”— 

Sophia. Vinegar. 

Maria. “ Armed citizens occupied the”— 

Emily. Frying-pans. 

Maria. “ Others had taken possession of the”— 

Louisa. Cotton balls. 

Maria. “ Planted the”— 

Charlotte. Marrow-bones. 

Maria. “ And sounded the”- 
Clara. Scissars 

Maria. “ AH were prepared to”— 

Julia. Break tumblers. 

Maria. “ All the powder and lead, which they found in the”— 

Sophia. Molasses. 

Maria. “ Was taken. The entire Polytechnic School came out to” — 
Emilt. Make gingerbread. 

Maria. “ The students of Law and Medicine imitated the”— 

Louisa. Worked-muslin. 

Maria. “ In fact, ’Paris appeared like a”— 

Charlotte. Chopping-block. 

Maria. “ All the shops were”— 


* “ Early in the morning, the whole population of Paris was in motion. Do 
tachments from the suburbs had put themselves in march ; armed citizens qccu- 
oied the Hotel de Ville. Others had taken possession of the passages of JVotrt 
Paine, planted the tri-coloured flag, and sounded the tocsin. All were prepared 
to fight. All the powder and lead which they found in the shops was taken 
The entire Polytechnic school came out to" fight. The students of Law and 
Medicine imitated the example. In fact, Paris appeared like a camp. All the 
jhops were closed; and royal guards, lancers. ®<viss, and regiments of the line, 
vere drawn up on all sides.” 


c 











U7 


AMERICAN GIRL’S BOOK. 

# 

Clara. Cut bias. 

Maria. “ And royal-guards, lancers, Swiss and”— 

Julia. Tea-pots. 

Maria. “ Were drawn up on all sides.” 

47 . 

THE MERCHANTS. 

Each of the company in turn calls herself a mer¬ 
chant, and mentions an article that she has for sale. 
The one next to her must say whether that article is 
animal, vegetable, or mineral. If she makes a mistake, 
she loses her turn. If she answers rightly, she becomes 
the next merchant, and proposes something for sale, 
asking also if it is animal, vegetable, or mineral; and in 
this manner the play goes round. 

22 trample. 

Maria. T am a China merchant, and have a tea set to sell. Is it animal, 
vegetable, or mineral ? 

Louisa. Mineral. China is made of clay and flint and things belonging to 

earth.-Now it is my turn. I am a dry goods merchant, and have a piece of 

gingham to sell; is it animal, vegetable, or mineral? 

Helen. Vegetable ; gingham being made of cotton.- 1 keep a grocery 

6tore, and have a box of candles to sell; are they animal, vegetable, or mineral? 
Charlotte. Animal. Candles are made either of tallow, spermaceti, or 
I 


sJLU 






























wax, all of which arc animal substances.-1 keep a cabinet-warehouse, and 

have a dining-table for sale ; is it animal, vegetable, or mineral ? 

Harriet. Vegetable; being made of the wood of the mahogany tree.- 

I am a silk-mercer, and have a piece of satin for sale ; is it animal, mineral, ot 
vegetable ? 

Caroline. Vegetable. 

Harriet. What—satin, vegetable ? Is it not made of silk thread, produced 
by the silk-worm? therefore it must be animal. Caroline, you have lost your 
turn, and can sell nothing this time. Come. Emily, you are merchant now 

Emilv. I am a stationer, and have a quire of letter-paper for sale ; is it ani¬ 
mal, vegetable, or mineral ? 

Julia. Vegetable; whitepaper being made of linen or cotton rags.-1 

am a druggist, and have some opium to sell; is it animal, mineral, or vegetable 

Matilda. Mineral. 

Maria. Oh, no, no ! Opium is vegetable ; it is the congealed juice of the 
poppy. You have lost your turn of being merchant, Matilda, and it is now como 
to me again. 

Matilda. I thought almost all medicines were minerals. 

Maria. A large proportion of them are ; but a very great number of drugs 
nre the produce of plants, and therefore vegetable. 


48 . 

TEA TABLE. 

The children form a circle, the name of an article 
belonging to the tea-table having been given to each, 
as Tea, Toast, Butter, Sugar, Cream, &c. The one 
named Tea begins by whirling round on one foot and 
saying, “ I turn Tea, who turns Sugar ?” Sugar re- 


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AMERICAN GIRL'S BOOK. 


99 





olies by turning Cream, or any one she pleases. If the 
one that is turned does not answer promptly, or forgets 
her name, she pays a forfeit. 

Example. 

Maria. Now, Harriet, you shall be Tea ; Julia shall be Cream ; Helen, 
Sugar; Louisa, Butter ; Charlotte, Bread ; Caroline. Cake ; Emily shall be 
Honey ; and I will be Sliced Ham. Come, let all stand up in a ring. 

(Hai~riet whirls round, saying, “ / turn Tea ; who turns Cream ?” 

Julia. I turn Cream, who turns Sugar ? 

Helen. I turn Sugar, who turns Bread i 

Charlotte. I turn Bread, who turns Butter ? 

Louisa. I turn Butter, who turns Cake l 

Caroline. T turn Cake, who turns Honey ? 

Emily. I turn Honey, who turns Ham l No one answers. Who turns 
Ham ? Ah ! Maria, a forfeit. You forget that you are Ham. 

Maria. I was thinking of something else. Well, I deserve the penalty, for 
we ought to pay proper attention to whatever we are doing, even when it is only 
play. I give this book as a forfeit, and will take care to avoid incurring an- 
ather 

49 

MY LADY’S TOILET. 

This play is somewhat similar to the last. To each 
of the company is given the name of an article of dress. 
If eight girls are playing, all the chairs, except seven, 



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100 


AMERICAN GIRL S ROOK, 


—sJUU 



I 


must be taken out of the room, oi set aside in one place 
with their backs outward; so as to leave one chair too 
lew. All the girls then seat themselves round the 
room; except one, who is called the Lady’s Maid and 
stands in the centre. The maid calls out, “ My lady’s 
up, and wants her Shoes.” She, of that name, starts 
up and exclaims “ Shoes,” seating herself again im¬ 
mediately. Then the maid says “ My lady’s up, and 
wants her Gown.” Gown directly answers to her 
name; and so on till all the articles are called over 
and answered. If any one fails to rise and reply quick¬ 
ly, she pays a forfeit. 

Occasionally, the maid exclaims, “ My lady wants 
her whole toilet;” and then every one quits her chair, 
and runs to change her seat by taking another. As 
there is a chair too few, one of the girls is of course left 
without a seat in the scramble and she becomes the 
Lady’s Maid; and takes her place in the middle of the 
room to call the names of the others. 


22j:amplc, 


Maria. Now, as there are seven of us, we must have but six chairs ; so let 
us take all the others, and set them at the other end of the room, turning theii 
fronts to the wall. (Theyfix the chairs.) Come, Julia, you shall be Scarf; Ma¬ 
tilda shall be Collar ; Charlotte, Frock; Harriet, Belt; Louisa, Cap; Emily, 


I 


CN 


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AMERICAN GIRL’S BOOK. 


101 


Bonnet; and I will be Lady’9 Maid. Now all take/our seats. ( They seat them- 
telces.) My lady’s up, and wants her collar. 

Matilda, (rising.) Collar! 

Maria. My lady’s up, and wants her frock. 

Charlotte. Frock! 

Maria. My lady’s up, and wants her scarf. 

Julia. Scarf! 

Maria. My lady’s up, and wants her cap. 

Louisa. Cap ! 

Maria. My lady’s up, and wants her bonnet. Bonnet—bonnet—Why, Em¬ 
ily, you do not answer. You have not your wits about you. 

Emily. What could I be thinking of? My handkerchief must be my forfeit. 

Maria. My lady’s up, and wants her scarf. 

Julia. Scarf! 

Maria. My lady’s up, and wants her scarf. Julia—Julia—have you forgot¬ 
ten already that you are scarf? 

Julia. Why, f was the last that answered, and I did not think you would call 
my name again immediately. 

Maria. O, yes—It’s r.ot contrary to rule, and it makes the play more divert¬ 
ing. You know, in Tea-table also, we may call the same name twice succes- 
lively. Come, where is your forfeit ? 

Julia. This little nosegay. 

Maria. My lady’s up, and wants her belt. 

Harriet. Belt! 

Maria. My lady’s up, and wants her belt. 

H arriet. Belt! You see I have my wits about me 

Maria. My lady wants her whole toilet. 

(They all quit their seats , and ran to other chairs. Julia is left out as Lady's 
Maid. jds soon as they are all quietly seated , she calls for the whole toilet 
again , and there is a second scramble and changing of seats. Emily is next 
left out , and becomes Lady's Jilaid. 


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50. 


THE DUMB ORATOR. 


In this amusement there are in reality two perform* 
ers, one that speaks without gesture, and one that makes 
gestures without speaking. We will suppose that Maria 
personates the speaker. She stands in the middle of 
the room, inveloped in a large cloak. Harriet hides be 














































AMERICAN GIRL’S BOO A. 


103 


hind her, concealed under the same cloak, keeping down 
ner head below Maria’s shoulders. She must thrust 
out her arms through the arm-holes of the cloak, 
while Maria’s arms must remain motionless down at 
her sides. 

When all is ready, Maria must recite with great 
energy some popular speech, such as are found in 
school-books on elocution; for instance, Lady Ran¬ 
dolph’s Soliloquy, Young Norval’s story of himself, or 
something similar. One that admits of considerable 
action is always to be preferred. Maria, while repeat¬ 
ing the speech, must keep perfectly still; and Harriet, 
with her hands and arms protruding from the cloak 
must “ make all the motions.” These motions should 
be as laughable and ridiculous as possible; so as to 
burlesque the speech. She should spread out her arms 
wave her hands, point upwards and downwards, strike 
Maria on the forehead and breast, and exaggerate every 
gesture in the most ludicrous manner. 

The Dumb Orator (when humorously performed; is a 
more diverting exhibition than can possibly be imagined 
by those who have never seen it. 

In case my young readers should not be acquainted 
with the popular speech of Young Norval (as referred to 











«p=i 


J04 


AMERICAN GIRL’S EOOK. 


in the foregoing article) we will here insert it. 
from Mr. Home’s tragedy of Douglas. 


My name is Norval; on the Grampian hills 
My father feeds his flocks ; a frugal swain, 

Whose constant cares were to increase his store, 
Arid keep his only son, myself^.at home. 

For I had heard of battles, and 1 long’d 
To follow to the field some warlike lord ; 

And Heaven soon granted what my sire denied. 

This moon, which rose last night round as my shield 
Had not yet filled her horns, when, by her light, 

A band of fierce barbarians, from the hills, 

Rush’d like a torrent down upon the vale, 

Sweeping our flocks and herds. The shepherds fled 
For safety and for succour. I alone, 

With bended bow and quiver full of arrows, 

Hover’d about the enemy, and mark’d 

The road he took : then hasten’d to my friends ; 

Whom, with a troop of fil'.y chosen men, 

I met advancing. The pursuit I led, 

Till we o’ertook the spoil-eneumber’d foe. 

We fought and conquer’d. Ere a sword was drawn. 
An arrow from my bow had pierced their chief, 

Who wore that day the arms which now I wear. 

Returning home in triumph, I disdained 
The shepherd’s slothful life ; and having heard 
That our good king had summon’d his bold peers 
To lead their warriors to the Carron side, 

I left my father’s house, and took with me 
A chosen servant to conduct my steps ; 

Yon trembling cowmrd, who forsook his master l 



































AMERICAN GIRL’S BOOK. 



Journeying with this intent, I pass’d these towers. 
And, Heaven-directed, came this day to do 
The happy deed that gilds my humble name. 




105 


This well-known speech is much in favour with juve¬ 
nile orators, as it relates a story and admits of consider¬ 
able gesture. 


51. 


CONSEQUENCES. 

This is best played by three persons, though four or 
two may engage in it. First prepare some white paste¬ 
board or some blank cards, by cutting them into small 
slips, all of one size. There should at least be four 
dozen slips ; but eight dozen will be better still, as the 
game will then be longer and more varied. We will 
however, suppose that there are four dozen slips of card 
First take twenty-four of these slips and write upon each, 
as handsomely and legibly as you can, the name of one 
of your acquaintances. Then take twelve more cards 
and write on each the name of a place, as “in the 
street,” “in church,” “in the garden,” “in the orchard,” 
“ at a ball,” “ at school,” &c. Lastly on the remaining 
dozen of cards write the consequences, or what happened 




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106 


AMERICAN GIRL’S BOOK. 


to the young ladies. You may say for instance, They 
iost their shoes,” “ They tore their gloves,” “ They took 
offence,” or something similar. The consequences 
should be so contrived that none of them will appear 
absurd and unmeaning with reference to the places. 

When the cards are all ready (and when once made 
they will last a long time,) the play may begin by Julia 
taking the two dozen that have the names (two names 
being read together;) Sophia taking the dozen that de¬ 
signates the places,and Harriet taking charge of the con¬ 
sequences. Each had better put her cards into a small 
basket, from which they are to be drawn out as they 
chance to come uppermost. Or they may be well shuf¬ 
fled and laid in a pile before each of the players, with the 
blank sides upwards. They must be shuffled every 
game. 


3E ramble. 


Julia, Sophia , Harriet. 

Julia. Well, ere we all ready l Come, then let us begin. (She takes up toot 

*ards and reads them.) “JLouisa Hartley and Helen Wallis”_ 

Sophia. (reading a card.) Were together « in a sleigh.” 

Harriet. (reading.) The consequence was, “ they caught cold.” 

Julia. “ Emily Campbell and Clara Nelson”— 

Sophia. Were both “ at a ball.” 

Harriet The consequence was, “ they were taken with fevers.” 






a9 








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AMERICAN GIRLS BOOK. 


107 


Julia. “ Maria Walden and Charlotte Rose well’'— 

Sophia. * Were together in the street”— 

Harriet The consequence was, “ they got their feet wet.” 

Julia. “ Fanny Milford and Ellen Graves”— 

Sophia. Were both “ at a party”— 

Harriet. The consequence was, “ their noses bled.” 

Julia. “ Amelia Temple and Caroline Douglas”— 

Sophia. Were together “ at the museum”— 

Harriet. The consequence was, “ they were highly delighted.” 

Julia. “ Sophia Seymour and Harriet Harland”— 

Sophia. Ah! Harriet, your name and mine !— (reading.) “ were both in the 
kitchen”— 

Harriet. The consequence was, “ they did nothing at all.” 

Julia. “ Matilda Granby and Eliza Ross”— 

Sophia. Were together “ in the orchard.” 

Harriet. The consequence was, “ they quarrelled and parted.” 

Julia. “ Marianne Morley and Julia Gordon”—(that is myself)— 

Sophia. Were both “ in church.” 

Harriet. The consequence was, “ they did not speak a word.” 

Julia. “ Adelaide Elmer and Juliet Fanning”— 

Sophia. Were both “at the theatre.” 

Harriet. The consequence was, “ they were laughing all the time.” 

Julia. “ Georgiana Bruce and Eleanor Oakley”— 

Sophia. Weie “ on the top of the house.” 

Harriet. The consequence was, “ they sprained their ankles.” 

Julia. “ Emmeline Stanley and Laura Lear”— 

Sophia. Were both “ at school.” 

Harriet. The consequence was, “ they broke their bonnets.” 

Julia. “ Margaret Ashwood amt Lydia Barclay”— 

Sophia. Were together “ on a visit.” 

Harriet. The consequence was, “ they were glad to get home.” 

Julia. There now — we have gone through all the cards. So let us shuflia 
them and begin another game. This time Sophia may take the names, Harriet 
the places, and 1 the consequences. I hope the answers this time also w ilt oe 
somewhat appropriate 




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—- 




10s 


AMERICAN GIRLS BOOK. 


If you cannot conveniently procure white paste-board 
or blank cards, slips of thick white paper will do nearly 
as well. When not in use, they should be kept in a 
box. 

Remember that, as two names are always read togeth¬ 
er, the number of names should be double that of the 
places and consequences. 

Four persons may play this game by dividing the 
names between two, each of which will read one name. 
If played by two persons only, one must take all the 
names, the other must read both the places and conse¬ 
quences. 


52 . 


I LOVE MY LOVE. 


This may be played by any number, each taking a 
letter as it comes to her turn. Any mistake or hesita 
tion incurs the penalty of a forfeit. She that begin? 
may say, 



A.. I love my love with an A. because he is Artless.— I hate him with an A. 
because he is Avaricious. He look me to the sign of the Anchor, anil treated 
me to Apees and Almonds. Ilis name is Abraham, and he comes 'roni Albany- 





























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I 


AMERICAN G 1 R L’S BOOK 


109 


B i love my love with a B, because he is Brave. I hate him with a B, be¬ 
cause he is Boisterous. He took me to the sign of the Bell, and treated me tc 
Biscuits and Buns. His name is Benjamin, and he comes from Boston. 

C. I love my love with a C, because lie is Candid. I hate him with a C, bo 
cause he is Capricious. He took me to the sign of the Crow, and treated me 
to Cherries and Custards. His name is Charles, and he comes from Cincinnati 

D. I love my love with a D, because he is Diligent. I hate him with a D, 
because he is Disdainful. He took me to the sign of the Drum, and treated me 
to Damsons and Dough-nuts. His name is David, and he comes from Delaware 

E. I love my love with an E, because he is Elegant. I hate him with an E 
because he is Envious. He took me to the sign of the Eagle, and treatod me tc 
Eels and Egg3. His name is Edward, and he comes from Easton. 

F. f love my love with an F, because ho is Faithful. I hate him with an F, 
because he is Foolish. He took me to the sign of the Fox, and treated me to 
Filberts and Figs. His name is Francis, and he conies from Farmington. 

G. f love my love with a G, because he is Generous. I hate him with a G, 
because h^ is Graceless. He took me to the sign of the Grecian, and treated 
me to Grapes and Gooseberries. His name is Gustavus, and he comes from 
Georgia. 

H. T love my love with an 11, because he is Handsome. I hate him with an 
H, because he is Haughty. He took me to the sign of the Hunter, and treated 
me to Ham and Hash. His name is Henry, and he comes from Harrisburg. 

I. I love my love with an I, because he is Ingenious. I hate him with an I, 
because he is Impertinent. He took me to the sign of the Dalian, and treated 
me to Ice-cream and Isingglass jelly. His name is Isaac, and he comes from 
Illinois. 

J. I love my love with a J, because he is Judicious. I hate him with a J, 
because he is Jealous. He took me to the sign of the Judge, and treated me to 
Jelly and Jam. His name is James, and he comes from Jersey. 

K. I love my love with a K, because he is Kind. I hate him with a K, be* 
cause he is Knavish. He took me to the sign of the King, and treated me t« 
Kale and Kid. His name is Kenneth, and he come3 from Kentucky. 

L. I love my love with an L, because he is Liberal. I hate him with an L 
because he is Listless. He took me to the sign of the Lion, and treated me t< 
Lobster and Lamb. His'name is Lewis, and becomes from Lansiuburgh. 



























no 


AMERICAN GIRLS BOOK 


-- 





M. I love my love with an M. because e v o<b * . I hate liim with an 

M. because he is Mischievous. He took me to the sign of the Mermaid, and 

treated me to Maccaroons and Marmelade. His name is Martin, and he comes 
torn Marietta. 

N. I love my love with an N. because he is Neat. I hate him with an N. 

because he is Noisy. He took me to the sign of the Nun, and treated me to 

Nuts and Nectarines. IIis name is Nathan, and he comes fiom Nashville. 

O. I love my love with an O. because he is Obliging. I hate him with an 
O. because he is Officious. He took . e to the sign of the Owl, and treated me 
to Oysters and Omelet. His name his Oliver, and he comes from Ohio. 

P. I love my love with a P. because he is Prudent. I hate him with a P. be¬ 
cause he is Petulant. He took me to the sign of the Peacock, and treated me 

to Peaches and Plums. His name is Philip, and he comes from Pensacola. 

Q. I love mv love with a Q. because he is Quiet. I hate him with a Q. 

because he is Queei. He took me to the sign of the Quiver, and treated mo 

with Quinces and Queen cake. His name is Quintin, and he comes fiom Que 
bee. 

R. I love my love with an R. because he is Regular. 1 hate him with an R 
because he is Revengeful. He took me to the sign of the Rose, and treated me 
to Raisins and Rusk. IIis name is Richard, and he comes from Roanoke. 

S. I love my love with an S. because he is Sensible. I hate him with an S 
because he is Scornful. He took me to the sign of the Swan, and treated me 
to Strawberries and Syllabub. His name is Simoi , and he comes from San¬ 
dusky. 

T. I love my love with a T. because he is Temperate. I hate him with a 
T because he is Treacherous. He took me to the sign of the Turk, and treat¬ 
ed me to Terrapins and Turtle. His name is Timothy, and he comes from Ten 
nessee. 

U. is omitted. % 

V. I love my love with a V. because he is Valiant. 1 hate him with a V 
because he is V ain. He took me to the sign of the Vine, and treated me to 
Venison and Veal. His name is Valentine, and he comes from Vermont. 

W. I love my love with a W. because he is Witty. I ! ate him with a VV 
because ho is \\ ild. He took me to the sign of the Waggon, and treated me 
;o Water-melon and Walnuts. His name is William, and he a 
Washington. 


















l+ffirr-r - 




AMERICAN GIRL’S BOOK. 



X. Y. and Z. are always omitted, as it is impossible to find proper words be¬ 
ginning with those letters. 


For the above words, others beginning 1 with the same 
letters may be substituted at the pleasure of the players. 
For instance, in the letter A, the words may be, “Active 
—Artful—sign of the Antelope—Anchovies and Ale— 
Adam—Annapolis :”—or for the letter B, “ Bountiful— 
Barbarous—sign of the Bear—Bacon and Beans—Bene 
diet—Burlington.” 

It may be more diverting for the treat to consist of 
things totally opposite and unsuitable—as—“Cabbage 
and Cheese”—“Molasses and Mutton”—“Sausages and 
Sugar”—“ Oranges and Oil”—&c. 


53. 

ANOTHER WAY OF PLAYING MY LOVE. 

A. I love my love with an A. because he is Amusing. I will send him to 
Alabama, and feed him with Apples ; I will give him an Axe to cut down his 
trees with, and a bunch of Acorns for a nosegay. 

B. t love my love with a B. because he is Beautiful. I will send him to 
Buffalo, and feed him with Buckwheat cakes; I will give him a Bag for his 
money, and a bunch of Broom-corn for a nosegay. 


























-- 


U2 


AMERICAN GIRL'S BOOK. 



C. I /ove my love with a C, because he is Careful. I will send him to Con 
necticut, and feed him on Cod-fish. I will give him a Cloak to wear in cold 
weather, and a bunch of Celery for a nosegay. 

D. I love my love with a D, because he is Diffident. I will send him tc 
Dartmouth, and feed him with Dumplings. I will give him a Diamond to cut 
glass with, and a bunch of Dock leaves for a nosegay. 

E. I love my love with an E, because he is Entertaining. I will send him 
to Emmetsburg, and feed him with Egg-sauce. I will give him an Earthen- 
pitcher to fetch water in, and a bunch of Elder-berries for a nosegay. 

F. I love my love with an F, because he is Friendly. I will send him to 
Falmouth, and feed him with Fritters. I will give him a Fife to play on, and a 
bunch of Flax for a nosegay. 

G. I love my love with a G, because he is Good-natured. [ will send him to 
Georgetown, and feed him with Gingerbread. I will give him a Gun to shoot 
squirrels with, and a bunch of Grass for a nosegay. 

H. I love my love with an II, because he is Humble. I will send him to 

Hackensack, and feed him on Herrings. I will give him a Hat, because his old 

one is worn out . and a bunch of Hops for a nosegay. 

I. I love my love with an I, because he is Industrious. I will send him to 

Indiana, and feed him on Indian-pudding. I will give him an Ink-stand to writo 
letters with, and a bunch of Ivy for a nosegay. 

J. I love my love with a J, because he is Just. I will send him to Juniata, 
and feed him on Johnny-cake. I will give him a Jew’s-harp to play on, and a 
bunch of Juniper for a nosegay. 

K. I love my love w ith a K, because he is Knowing. I will send him to 
Kinderhook, and feed him with Ketchup. I will give him a Knapsack to put 
his clothes in, and a bunch of Kale for a nosegay. 

L. I love my love with an L, because he is Lively. T will send him to Lou¬ 
isiana, and feed him on Lemons. I will give him Leather for his shoes, and a 
bunch of Lettuce for a nosegay. 

M. I love my love with an M, because he is Merciful. I will send him to 


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AMERICAN GIRLS BOOK. 


113 


Marblehead, and feed him on Mushrooms. I will give him a Mill to grind hia 
coflee in, and a bunch of Marjoram for a nosegay. 

N. I love my love with an N, because he is Nice. I will send hint to Nan¬ 
tucket, and feed him on Nutmegs. 1 will give him a set of Nine-pius to play 
with, and a bunch of Nettles for a nosegay. 

O. I love my love with an O, because he is Obedient. I will send him to 
Oswego, and feed him on Onions. I will give him some Oil for his lain]), and 
a bunch of Oats for a nosegay. 

P. I love my love with a P, because he is Peaceable. I will send him to 
Poughkeepsie, and feed him on Pickles. 1 will give him a Patch to mend his 
coat with, and a bunch of Pokcberries for a nosegay. 

Q. I love my love with a Q, because he is Quick. I will send him to 
Queenstown, and feed him on Quails. I will give him a Quilt for his bed, and 
a bunch of Quills for a nosegay. 

R. I love my love with an R, because he is Reasonable. I will send him to 
Roxbury, and feed him on Rabbits. I will give him a Rail to mend his fence, 
and a bunch of Rye lor a nosegay. 


S. I love my love with an S, because he is Steady. I will send him to Sa¬ 


lem, and feed him on Salad. 1 will give him some Soap to wash his hands with, 
and a bunch of Sumach for a nosegay. 


T. I love my love with a T, because he is Thoughtful. 1 will send him to 
Trenton, and feed him on Turnips. I will give him a Trap to catch his mice in, 


and a bunch of Thistles for a nosegay. 

U. Is omitted. 

V. I love my love w r ith a V, because he j Virtuous. I will send him to 
Virginia, and feed him on Vermacelli. 1 will give him a Violin to play on and 
a bunch of Vine-leaves for a nosegay. 

W. I love my love with a W,'because he is Wise I will send him to Wil¬ 
mington, and feed him on Waffles. I will give him a Waistcoat to wear at hi* 
wedding, and a bunch of Wormwood for a nosegay. 

X. Y, and Z, are omitted 
































114 


americ an girl’s book. 


This, like the one similar, may be played by any I 
number. Mis-spelling, or any other mistake, is punish¬ 
ed by a forfeit. For the foregoing words any others j 
may be substituted according to the taste of the player, j 
provided that they are appropriate. The more ridicu- 
%lpus the more amusing. 

These alphabetical plays, though many grown per¬ 
sons may consider them foolish, are in fact not only di¬ 
verting but very improving to children. 

„ 1 

54. 

CUPID. 

The mistress of the play seats herself at one end of j 
the room. At the other end her companions range them¬ 
selves in a row, each coming forward in turn and ad¬ 
dressing her in the character of Cupid, and afterwards 
taking a station behind her. Every one, as she person¬ 
ates Cupid, must adapt her countenance and gestures to 
the manner in which she describes him. She who fails 
to do so, but merely repeats hei words without the prop¬ 
er expression or attitude, is to pay a forfeit. Each takes 
a letter till the whole alphabet is completed; the first 
girl, for instance, saying, Cupid comes Affable. 

























115 


AMERICAN GIRL’S BOOK. 

A. Cupid comes Affable—or Affected—or Angry. 

B. Cupid comes Begging —Bouncing—Backwards. 

C. Cupid comes Capering—Crying—Chilly—Creeping. 

D. Cupid comes Dancing—Dull—Downcast. 

E. Cupid comes Eating—Eagerly—Exasperated. 

F. Cupid comes Frightened—Fatigued—Fighting. 

G. Cupid comes Gaily—Gravely—Grieving—Gliding. 

H. Cupid comes Haughty—Hastily—Heedless—Hobbling. 

I. Cupid comes Indolent—Impudent. 

J. Cupid comes Jumping—Jealous—Joyful. 

K. Cupid comes Kissing. 

L. Cupid comes Laughing—Limping—Loitering. 

M. Cupid comes Mournful—Majestic—Meekly. 

N. Cupid comes Noisy—Negligent. 

O Cupid comes Outrageous—Orderly. 

P. Cupid comes’ Peeceful—Peevish—Playful—Painful. 

Q. Cupid comes Quickly—Quarrelsome—Quizzical. 

R. Cupid comes Raging—Respectfully—Rustic. 

S. Cupid comes Smiling—Sighing—Skipping—Sideways. 

T. Cupid comes Trembling—Tiptoe—Thoughtful—Twining 

U. Cupid comes Upright—Unhappy—Unruly. 

V. Cupid comes Violently—Volatile. 

W. Cupid comes Whimpering—Weary—Woful. 

X. Is omitted. 

V. Cupid comes Yawning. 

Z Cupid comes Zigzag. 

A little reflection will soon show in what manner 
Cupid is to be perfcrmed under all these various aspects, 
and in this way the alphabet may be gone over three or 
four times, always changing the words when practicable. 
Smart children find this play very amusing. 













55. 

SELLING FORFEITS OR PAWNS. 

When a sufficient number of forfeits or pawns have 
been collected during the play, it is time to sell them 
J ! For this purpose, one of the girls is seated on a chaii 

in the middle of the room and blindfolded. Anothei ; j 

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- 



AMERICAN GIRL’S BOOK. 

stands behind her with the basket, containing the 
pawns, and, taking out one at a time, she holds it up. 
asking, “What is to be done to the owner of this V‘ 
She that is blindfolded inquires, “ Is it fine or super¬ 
fine ?” meaning “ Does it belong to a young gentleman 
or to a young lady ?” If the owner is a female, the re¬ 
ply must be, “ It is superfine.” Then the seller of the 
forfeits (still remaining blindfolded) must decide what 
the owner must do before the pawn can be restored to 
her. 


Samples. 

FIRST. 

The first may be what is called performing a statue. 

The owner of the forfeit is to stand on a chair in the 
middle of the room; and every one, in turn, is to put 
her in a different position. One is to make her raise 
her hands above her head and clasp them together; 
another is to place her hands behind her, grasping her 
elbows with her hands ; a third makes the statue clasp 
her hands on her breast; a fourth requires her to hold 






















out her dress, as if she was just going to dance; a fifth 
desires her to cover her eyes with her hands; and so on, 
till each has placed the statue in a different attitude. 
After which, she descends from her pedestal and the 
forfeit is restored to her. 












































AMERICAN GIRL’S BOOK. 


119 


SECOND. 

The owner of the pawn is to be fed with water till 
she guesses who is feeding her. For this purpose she 
is blindfolded, and seated on a chair. A glass of water 
with a tea-spoon in it is prepared, and each girl, in turn, 
puts a spoonful of water into the mouth of her blindfold¬ 
ed companion, who must endeavour to guess who is do¬ 
ing it. Whenever she guesses rightly, the bandage is 
removed, and the forfeit is restored to her. 

THIRD. 

She shall be carried three times round the room on a 
seat, formed of the arms of two of her companions, who 
are to say as they carry her, “ Give me a pin to stick in 
the cushion that carries my lady to London.” They 
cross their arms, holding each gther by the wrists, and 
she that is carried throws an arm round the neck of 
each. 

FOURTH. 

She must recite a verse of poetry, which had better be 
something diverting or humorous. 

FIFTH. 

She must keep a serious face for five minutes, with* 



















- 


—*-*-*$$£ j 


120 


AMERICAN GIRL’S BOOK. 


out either smiling or frowning, let the company do as 
they will. 

SIXTH. 


She must repeat five times rapidly, without mispro¬ 
nouncing a letter, “ Villy Vite and his Vife vent a 
voyage to Vinsor and Vest Vickham von Vetsuri Ved- 
nesday.” 

SEVENTH. 


Laugh in one corner of the room, cry in another, 
yawn in the third corner, and dance in the fourth. 


EIGHTH. 


Bite an inch off the poker. This is done by making 
a bite at the distance of an inch from the poker. If 
there is no poker at hand, an umbrella or a stick will do 
as well. 


NINTH. 


Repeat as follows, three times successively, without a 
pause or a blunder : 


“ Peter Piper pick’d a peck of pickle peppers, 

A peck of pickle-peppers Peter Piper pick’d 5 
If Peter Piper pick’d a peck of pickle-peppers, 

Where’s the peck of pickle-peppers Peter Piper pick’d f” 


—- 


—— 










AMERICAN GIRL’S BOOK. 

TENTH. 

Say this correctly, without stopping: 

“ Bandy-legg’d Borachio Mustachio Whiskerifusticus tho Bald and bravo 
Bombardino of Bagdad helped Abomilique Blue-Beard Bashaw of Babelmandei 
to beat down an abominable Bumble Bee at Balsora. 

ELEVENTH. 

Kiss a box, inside and outside, without opening it. 
That is, first kiss the box inside of the room, and then 
take it outside of the room and kiss it there also. 

TWELFTH. 

Answer five questions while another chucks you 
under the chin. 

THIRTEENTH. 

Ask a question of one of the company, which they 
can only answer by saying “Yes.” The question is, 
“ What does Y,E,S, spell ?” 

FOURTEENTH. 

Kneel to the wittiest in the room, bow or curtsy to the 
prettiest, and kiss the one you love best. 

FIFTEENTH. 

Make a good cat’s cradle. 



I 






























122 


AMERICAN GIRLS BOOK- 


I 


SIXTEENTH. 

Tell a riddle or conundrum. 

SEVENTEENTH, 

Hop, on one foot, four times round the roo < 

EIGHTEENTH. 

Kiss some one through the tongs. 

NINETEENTH. 

Count twenty backwards. 

TWENTIETH. 

Show four bare legs. That is, turn a ch A apsich 
down, so as to display its four legs. 

TWENTY-FIRST. 

Tell a short story, or anecdote. 

TWENTY-SECOND. 

Sing a short song. 

TWENTY-THIRD. 

Dance a solo or hornpipe. 

TWENTY-FOURTH. 

Put yourself through the key-hole. This is d 


i 




































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AMERICAN GIRL’S BOOK. 123 

writing the word “ yourself” on a small slip of paper, 
rolling it up, and putting it through the key-hole. 

TWENTY-FIFTH. 

Repeat these four lines rapidly, without a pause or a 
mistake : 

“ As I went in the garden, I saw five brave maids, 

Sitting on five broad bods, braiding broad braids. 

I said to these five brave maids, sitting on five broad beds, 

Braiding broad braids, ‘ Braid broad braids, brave maids.’ ” 

TWENTY-SIXTH. 

Kiss yourself in the looking-glass. 

TWENTY-SEVENTH. 

Guess a riddle or conundrum. 

TWENTY-EIGHTH. 

Spell “ new door ” in one word. This is done by 
writing on a slate or piece of paper “ one wordy It 
will be seen that “ new door” and “ one word” contain 
exactly the same letters, though differently arranged. 

TWENTY-NINTH. 

Repeat the “ twine-twister” as follows : 


- 















- 


- 


124 


AMERICAN GIRLS BOOK. 


“ When the twister a twisting will twist him a twine, 
For the twisting his twist he three times doth entwist; 
But, if one of the twines of the twist doth untwine, 
The twine that untwisteth untwisteth the twine. 
Untwisting the twine that untwisteth between, 

He twirls with his twister the two in a twine ; 

Then twice having twisted the twines of the twine, 
He twisteth the twine he hath twined in twain : 

The twain, that in twining before in the twine 
As twines were intwistcd, he now doth untwine. 
’Twixt the twain intertwisting a twine more between, 
He, twirling his twister, makes a twist of the twine.” 


THIRTIETH. 


Immediately after the “ twine-twister” has been said 
the next pawn may be redeemed by desiring the ownei 
to spell all this in seven letters; which is done by spell¬ 


ing A,L,L, T,H,I,S. 


THIRTY-FIRST. 


Write your name in one letter. This is done by 
writing on a slate, or on paper with a lead-pencil, one 
very large letter, introducing in it your own name 
written small, thus: 















mr 


AMERICAN GIRL’S BOOK. 125 

THIRTY-SECOND. 

Decypher two lines, addressed by a boy to his school¬ 
master. The following lines must be written by some 
one who knows how, and the owner of the pawn must 
write under them the explanation: 

2-j- ur i2-}“ u b 

1 c u r 2 -f- for me. 

The explanation is: 

Too cross you are, too cross you be, 

I see you arc too cross for me. 

THIRTY-THIRD. 

Decypher the schoolmaster’s answer to the boy: 

2 yy u r 2 yy u b 

I c u r 2 yy for me. 

This is the explanation : 

Too wise you are, too wise you be, 

I see you are too wise for me. 

THIRTY-FOURTH. 

Perform a Dutch doll. 

THIRTY-FIFTH. 

Perform the Dumb Orator. 






















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{26 


AMERICAN G I R L’S BOOK. 


THIRTY-SIXTH. 

Repeat the list of 

WONDERFUL SIGHTS. 

\ 

I saw a peacock with a fiery tail, 

I saw a blazing comet pour down hail, 

I saw a cloud all wrapp’d with ivy round, 

I saw a lofty oak creep on the ground, 

I saw a beetle swallow up a whale, 

I saw the foaming sea brimful of ale, 

I saw a china mug fifteen feet deep, 

I 6aw a well full of men’s tears that weep, 

I saw wet eyes all of a flaming fire, 

I saw a house high as the moon and higher, 
T saw the sun e’en at the dead midnight, 

J I saw the man that saw these awful sights. 

Or this: 

MORE WONDERS. 


I saw a pack of cards gnawing a bone, 

I saw a dog seated on Britain’s throne, 

I saw king George shut up within a box, 

I saw a shilling driving a fat ox, 

I saw a man laying in a muff all night, 

I saw a glove reading news by candle-light, 

I saw a woman not a twelvemonth old, 

I saw a great coat all of solid gold, 

I saw two buttons telling of their dreams, 

I heard my friends who wish’d I’d quit these themes. 























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AMERICAN GIRL’S BOOK. 


THIRTY-SEVENTH. 

Repeat the Wonderful Sights so as to make them no 
wonders at all. This is done by altering the punctua¬ 
tion —thus: 

I saw a peacock ;—with a fiery tail 
I saw a comet;—pour down hail 
l saw a cloud ;—wrapp’d with ivy round 
I saw a lofty oak ;—creep on the ground 
I saw a beetle ;—swallow up a whale 
I saw th*-- foaming sea ;—brim full of ale 
I saw a china mug;—fifteen feet deep 
I saw a well ;—full of men’s tears that weep 
I saw wet eyes ;—high as the moon and higher 
I saw the sun ;—even at the dark midnight 
l saw the man that saw these awful sights. 

MORE WONDERS, EXPLAINED. 

I saw a pack of cards ;—gnawing a hone 
I saw a dog;—seated on Britain’s throne 
1 saw king George;—shut up within a box 
1 saw a shilling;—driving a fat ox 
I saw a man ;—laying in a muff all night 
I saw a glove ;—reading news by candle-light 
I saw a woman ;—not a twelvemonth old 
I saw a great coat ;—all of solid gold 
I saw two buttons;—telling of their dreams 
I heard my friends, who wish’d I’d quit these themes. 

THIRTY-EIGHT. 

Get a sixpence off your forehead, without putting 
/our hands to it. This is done as follows :—The mis- 



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AMERICAN GIRL’S BOOK. 


tress of the play takes a sixpence or fivepenny bit v and 
wetting it with her tongue, pretends to stick it very fast 
on the forehead of the owner of the pawn. In reality 
she withdraws it immediately, and conceals it in her 
own hand; but makes the owner of the pawn believe 
that it is all the time on her forehead ; and she is easily 
deceived, as she is not permitted to put up her hand to 
feel; and all the company humour the joke, and pretend 
that the sixpence is actually sticking there. She shakes 
her head, and tries every means (except the interdicted) 
to make the sixpence drop off, wondering she does not 
see it fall, and amazed that it sticks so fast, supposing 
it to be really on her forehead. No one must undeceive 
her. Whenever she discovers the trick, and finds that 
in reality there is nothing on her forehead, her forfeit 
may be restored to her. If she puts up her hand to fee 
for the sixpence, she must pay another pawn. 

THIRTY-NINTH. 

Stand in the corner till some one prevails on you tt 
come out, though all your answers must be “ No.’' 
The dialogue, that ought to take place, is as follows 
or something to this effect; but it may be varied, accord 
ing to the ingenuity of the questioner 



- 








- 


AMERICAN GIRl’s liOCL 


129 





“ Do you wish to remain in the corner r” 

“ No.” 

“ Is it very irksome to you 
“ No.” 

“ Sliall I lead you out in half an hour ?” 

“ No.” 

“ Are you willing to stay here all night ?” 

“ No.” 

“ Shall I go away and leave you here ?” 

“ No.” 

“ Will you remain in the corner another minuto ?” 
“ No.” 


The answer to the last question implies a consent to 
quit the corner immediately, therefore you must be led 
out. 


FORTIETH. 

Walk three times round the room with a boy’s hat 


on your head, and bow to the company as you take it off. 


FORTY-FIRST. 


Spell Constantinople. When this is done, after the 
speller has gone through the three first syllables, Con- 
stan-ti—the other girls must call out—no—no—mean¬ 
ing the next syllable. If the speller is not awate of the 
trick, she will suppose that they wish her to believe she 
is spelling the word wrong, and she will stop to vindi 
cate herself; in which case she is liable to another for 
feit. If she knows the trick, she is convinced that she 



9 


- 

























is rignt, and will have sufficient presence of mind to 
persist in spelling the word, notwithstanding the inter* 
/uption. If she gets through it without stopping, the 
pawn is restored to her. 

FORTY-SECOND. 

Take a cent out of a plate of meal, without flouring 
your hands. A cent, covered up in meal, is brought 
to you. You take the plate and blow all the flour off 
the cent; after which you can easily take.it up in youi 
thumb and finger, without getting your hands dusted. 

FORTY-THIRD. 

Shoot the robin. This is done by blindfolding the 
owner of the pawn, and leading her to a part of the 
room where a sheet of paper or a handkerchief has been 
pinned to the wall. She is directed then to shoot the 
robin, which she must do by starting forwards, extend¬ 
ing her right arm, and pointing her finger so as to touch 
the sheet of paper. Whenever she succeeds in doing 
so, her forfeit is restored. Her finger had better be 
blackened with a coal, a burnt cork, or something that 
will leave a mark on the paper. 

FORTY-FOURTH. 

Walk round the room, and kiss your shadow in each 
corner. 











^^j^TTY-Y'--— 


—■■*-*-**•$ 


AMERICAN GIRLS BOOR. 


131 


FORTY-FIFTH. 

Kits ooth the inside and outside of a reticule, without 
opening it. This can only be done when the drawing¬ 
string of the reticule is some distance from the top, and 
when the lining appears above it. When you kiss the 
ining of the flaps or scollops at the top of the reticule, 
then you may be said to kiss the inside. 

FORTY-SIXTH. 

Two pawns may be redeemed at once, by the persons 
to whom they belong lamenting the death of tbe king of 
Bohemia. They must go to opposite ends of the room, 
and then turn round and advance so as to meet in the 
centre. One must walk very slowly with her handker¬ 
chief to her face, and say to the other, in a melancholy 
tone : “ The King of Bohemia is dead.” The hearer 
must then pretend to burst into tears, and say : “ Is it 
possible ! Sad news ! sad news !” Both must then ex¬ 
claim, “ Let us cry for the king of Bohemia !” 

All this must be performed in a lamentable voice and 
with disconsolate faces. If they laugh, the forfeits must 
be redeemed over again. 

FORTY-SEVENTH. 

When a line is given out to you, answer it with 
another that will rhyme to it. 


S fe fr fro rtr- 


^ 99 . 










~Uo r r - —- 


132 


AMERICAN GIRL’S EOOK. 


FORTY-EIGHTH. 

Sit down on the carpet close to the door (which must 
be shut) and say : 

Here will I take my seat under the latch, 

Till somebody comes a kiss to snatch. 

The pawn is redeemed as soon as one of your play¬ 
mates kisses you. 

FORTY-NINTH. 

A number of pawns may be redeemed together, by 
the owners all sitting in a row and playing Mrs. M’Ta- 
vish ; which is performed by the following dialogue go¬ 
ing round : 

“ Mrs. M’Tavish has fainted away.” 

“ Is it possible i How did she faint ?” 

“ Just so.” 

( The speaker then throws herself back, and looks as if she was fainting. The 
one next to her then, in turn, announces the fainting of J\frs. J\PTavisli. 
Thus the play goes on, till all engaged in it have performed the fainting, and 
this redeems the forfeits. The whole must be done without laughing. The 
modes of fainting should be as different as possible, and may be made iw'-y 
diverting.) 

FIFTIETH. 

After a number of pawns have been sold, those that 
are left on hand may be redeemed all at once, by the 
w r hole company performing a Cat’s Concert. That is 
they must all sing together, as if in chorus ; but each 
must sing a different song and tune. One verse wi’l be 
sufficient. 


-- 















jKLivas} wma 







/ 

















































This is played with two small hoops and four sticks. 
Each player takes a pair of sticks and a hoop, and 
stands opposite to her adversary. The sticks are held 
one in each hand, so as to cross ; the hoop is hung on 
their points, and then tossed over to the other player 


-- 


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THE GRACES. 

























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i 


AMERICAN GIRL’S BOOK. 


135 


who must endeavour to catch it on the points of her 
sticks, having first tossed her own hoop towards her 
opponent. The hoops are thus alternately thrown back¬ 
wards and forwards, and received on the points of the 
sticks, which are always held across each other. Every 
time the hoop is successfully caught, without being 
allowed to fall to the ground, counts one; and the play¬ 
er, who can count most when the play is over, wins the 
game. To become so dexterous as always to catch the 
hoop, requires considerable practice. Beginners had 
better commence with one hoop only, between them ; 
as it is much easier than to keep two going at once. 
This little game affords very good and healthful exer¬ 
cise, and when well played, is extremely graceful. It is, 
however, too difficult for small children, unless they are 
uncommonly alert. 



- 













This game may be played either single or double , 
that is, by one or by two persons. The shuttlecock (or 
bird, as some call itl is a cork, with a bunch of small 












AMERICAN GIRL’S BOOK. 


137 


feathers stuck into one end. The battledoor, or bat, is 
the instrument by which the shuttlecock is struck. 

To play single battledoor, you must strike or toss the 
shuttlecock perpendicularly, or up and down ; catching 
it every time on the battledoor, which you hold in your 
hand horizontally. 

Double shuttlecock is played by two persons, standing 
opposite to each other. The battledoors are held up so 
as rather to incline forwards, and the shuttlecock is 
struck backwards and forwards horizontally, each as it 
reaches her battledoor driving it back again towards her 
adversary. 

Each player must count how many times in succession 
she can keep up the shuttlecock, without allowing i 4 to 
fall to the ground. 














133 


AMERICAN GIRL'S BOOK. 


LOTO. 

A Loto Box, which may be had always at the Ger* 
man or French toy-shops, should contain cards marked 
with figures (as 2, 15, 24, 8, 40, &c.;) a bag of buttons 
.vith figures on the under side ; a round wooden plate 
to lay th£m on when not wanted; and a little basket 
with counters, which are round pieces of ivory resem¬ 
bling wafers. This game may be played by any num¬ 
ber of persons from two to twelve. 

A card is laid before each player. The one, appoint¬ 
ed to call out the figures, keeps the bag beside her, and, 
taking out the buttons one at a time, proclaims the num¬ 
ber she finds on it. If, for instance, the number an¬ 
nounced is 65, each of the players must look for that 
figure on her card. If it happens to be there, she must 
lay one of the counters on it; the basket being placed 
on the table to begin the game with. If the next num¬ 
ber, produced from the bag of buttons, chances to be 18i 
whoever finds the figure 18 on her card covers it with a 
counter. If but few are playing, it may happen that 

























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AMERICAN GIRL’S BOOK. 


139 


none of their cards may contain the figure that is want¬ 
ed ; in which case, there is nothing to be done but to 
draw out another button from the bag. The buttons, 
after having been called, and laid on the wooden plate 
in the middle of the table, and when all the counters in 
the basket are exhausted, they (the buttons) maybe used 
to cover the figures on the cards. She, that succeeds 
first in getting all her figures covered, is the winner of 
the game. If the company is small, the cards that have 
been used are laid aside after the conclusion of the 
game; and new ones, for the next game, are taken from 
the box. 

When only a few are playing, two or three cards may 
be allotted to each person. But this considerably length¬ 
ens the game, as a longer time is required to look over 
several cards in search of the right figure, than is neces¬ 
sary when there is only one card. When very little 
girls are playing, we would recommend that each of the 
company should have but one card at a time. 










0 * 


140 AMERICAN GIRL’S BOOK. 


DOMINO. 

A domino-box contains twenty-four oblong pieces ol 
ivory, each divided into two parts by a line down the 
middle, and marked with round black spots. Each ! 
piece contains spots which designate two numbers, as 
four and six, three and five, and some have two sixes, 
two threes, &c. 

This game is best played by two persons only, one 
of whom distributes the dominos with the blank side 
uppermost, allotting an equal number to each player. 

The dominos must then be set up on the edge, and ir 
such manner that your adversary cannot distinguish the 
spots. She, that has not dealt or distributed the domi¬ 
nos, must begin the game by laying one of her pieces 
in the middle of the table. Supposing that Jane and 
Lucy are playing, Jane may commence with a piece 
that contains the numbers five and two. Lucy must 
then look in her collection for a piece that has on it 
either a five or a two. She finds one that has five spots | 1 

on one half, and six on the other. She lays it close ic j l 

























AMERICAN GIRL’S BOOK. 


141 


the one that Jane has just played, and in such a mannei 
that the two fives meet each other. The numbers now 
wanted are two and six. Jane finds among hers a six 
and four, and lays it next to Lucy’s six. Lucy must 
now seek for a four or a two, as those are the num¬ 
bers at the ends of the line of dominos that have been 
played. She finds one with two and three, and places 
the two next to its corresponding number, so that the 
numbers now; to be played are four or three. In this 
manner the play goes on, till all the dominos have taken 
places on the board, or middle of the table. If one of 
the players finds that she is unable to match either end 
of the row or line, she loses her turn, and her adversary 
plays instead of her. The winner of the game is she 
that has first played out all her dominos. 






















CHECKERS OR DRAUGHTS. 

This game is played by two persons, on a board with 
32 black squares and 32 white ones. The pieces (or 
men, as they are commonly called) are twenty-four in 
number, one dozen of one colour, the other dozen of 
another. We will suppose them to be white and red, 
and that Maria and Louisa are playing. Maria takes 




142 















































AMERICAN GIRLS BOOK, 


1 ; 



the red ar.d Louisa the white men, and they are placed 
in rows on the black checkers, so as to leave two lines 


of empty black checkers in the middle of the board, as a 


space on which to begin the game. 

The men can only be moved into one checker at a 
time, and from one black square to another. You must 
always move diagonally or slanting, and never cross 
over a white square. All your moves must be towards 
your adversary, and from yourself. The aim of each 
player is to reach the extremity, or the farthest squares 
on the opposite side of the board, and to take as many 
of her antagonist’s pieces as possible. By taking her 
pieces, you weaken her force ; and, by arriving at the 
last line on the other side, your men become kings, and 
I are then empowered to move either backwards or for¬ 
wards ; always however moving diagonally, and only 
!| into the next black square. 

The players, of course, move their pieces alternately. 
If, in moving, Maria leaves a vacant black square behind 
one of her men, and Louisa has a man immediately 
I next to it, she can jump over Maria’s man with her’s 
i and take him captive. He is then laid aside, and is 

j used no more during the game, except for the purpose 

of crowning a king. All the taking must be done di- 


% 


a 1 

Q 






























-— 




44 


AMERICAN GIRL S BOOK 


agonally, or in a slanting direction, and (except with a 
King) you can only take towards your adversary. If 
Maria moves up a man close to one of Louisa’s, with a 
view of taking him at the next move, Louisa may find 
perhaps that she can save him by filling up the vacancy 
with another of her men. Two men, if left unprotected, 
can be jumped over and taken at one move, but then 
there must be a vacant space diagonally behind each. 
Sometimes, after Louisa has just taken a man, Maria 
is immediately able to retaliate by at once capturing the 
victor. This, however, should have been foreseen, and 
guarded against on the part of Louisa. A man may be 
saved by moving him in between two others. 

When you have succeeded in getting a man safely to 
the opposite extremity of the board, he becomes a king, 
and is crowned by placing on him one of the men that 
has been taken and laid aside. 

A king can move and take either way, backwards or 
forwards ; therefore, as he has more power than a man, 
the player who has most kings generally wins the game, 
or could do so if she manages rightly. 

The play is at an end when all your adversary’s 
pieces are taken, or driven into corners from which they 
cannot move. 



- 




c 



















—<m 


AMERICAN GIRLS BOOK. 


145 


If you neglect an opportunity of taking when you 
have it in your power, you forfeit your own man, and 
your adversary then removes him from the board. 
This is called huffing. The first move at the com¬ 
mencement of the game is allotted to each player in 
turn. 



-- 
























— 




146 



This game is played on a board marked as above. 
Fifteen men (the same as those in checkers or draughts,) 
twelve being of one colour and three of another, compose 
the flock of geese. The fox is represented by two men 
placed one on another, (like the king in checkers) or by 



























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AMERICAN GIRL’S BOOK. 


147 


—‘-*-*§•61 



& thimble or something similar. One player takes the 
fox only, the other has the fifteen geese. 

Place the fox on the round spot in the very centre of 
the board, and the geese at the stations or points marked 
by dots. The fox can move both ways, either back¬ 
ward or forward. The geese move forward only. 

The object of the geese is to pen up the fox, so that 
he cannot move to any advantage. The fox must try to 
lessen the number of geese by taking as many as he 
can. He takes by jumping over every one that has a 
vacancy immediately behind it, and if he succeeds in 
capturing so many geese that not enough are left to pen 
him up, he of course wins the game. The geese win, 
if they can manage to surround the fox so closely that 
he has no way to get out. 

Neither fox nor geese can move to more than one 
point at a time, and they must always keep along the 
line. 

With a large sheet of paper, a pen and a ruler, it is 
very easy to make a board for playing this game. 





















148 



MORRICE. 

This game may easily be learned by children of foul 
or five years old. A morrice board is frequently found 
on the back of the small german checker boards, and it 
is played with the same men or pieces. But if you 
have no other board for this .game, it is very easy to 
draw one after the above pattern, on a large sheet of 
paper, with pen and ink, and a ruler. Morrice is play¬ 
ed with eighteen men; nine of each colour. The object 






































AMERICAN GIRL'S BOOK. 


149 


.s to make'rows of three men on a line, and to prevent 
your adversary from doing so. 

Susan may take the red men, and Mary the white, 
but the pieces are not placed all at once on the board, 
as in checkers. Each player puts down one man at a 
time, alternately, always placing them on the angles, or 
where the lines cross each other. Three will make a 
row, if they are all placed on a straight line ; and if 
cleverly arranged, one man may form a part of two 
rows. 

If Susan sees that Mary has nearly made a row, she 
may prevent her by interposing one of her own men. 
If Mary succeeds in making a row, Susan forfeits one 
of her own men, which Mary takes up and lays aside. 
In seizing a forfeit-man she must not break one of Su¬ 
san’s rows, if she can possibly avoid it. 

When all the men have in this manner been placed 
on the board, the players may begin to move. All the 
moves must be along the line, and only from one point 
to the next, each time. The object is still to make 
rows, by moving the men to different parts of the board, 
and intercepting your adversary. Whenever you 
make a new row, you take up and lay aside one of 
your antagonist’s men. As soon as the number of your 























AMERICAN. GIRL’S BOOK. 

men is reduced to two, you may give up the game as 
lost: three being always necessary to complete a row. 


The writer has seen this game played in the country 
by children, who, for want of a better apparatus, had 
made a morrice-board by chalking the lines on the lid 
of an old box, using dried beans and grains of cori? as 
substitutes for the red and white men. 


JACK-STRAWS. 

Jack-Straws of ivory can be oought in little boxes at 
tbe toy-shops; but they can easily be made at home 
with a small knife and some pieces of cedar, or any 
other wood that will not break easily. They must be 
cut into long slips of six or eight inches in length, and 
the thickness of a small straw; and each must be 
marked with a figure, as 1, 2, 3, 4, 5, &c. The little 
stick, called the picker, must be rather stouter than the 
straws, and furnished at the end with a hook made of 
fine wire, or of a bent pin. The jack-straws may be 
made in various forms, as little guns, swords, spears 


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AMERICAN GIRL’S BOOK. 



ixes, arrows, &c. ; on the broad ends of which, the 
numbers may be marked with pen and ink. 

Any number of persons may join in this amusement. 
She, that begins the play, takes up the bundle of straws 
in her hand, and then lets them fall in a heap on the 
middle of the table. She then takes the picker, and 
endeavours, by its assistance, to lift the jack-straws one 
by one from the heap, without shaking the pile or dis¬ 
turbing it. As she takes them up, she lays them beside 
her on the table. 

If she shakes the heap, she must then quit playing, 
and resign the picker to the next in turn, who pursues 
the game in the same manner, till she is so unlucky as 
to disturb the pile; upon which, she also leaves off play¬ 
ing, and resigns the picker to the next. 

When all the jack-straws are taken up, the game is 
over. As they are all numbered, each number counts 
one. 

When the game is finished, each player must add up 
the numbers of the straws in her own pile. Whoever 
counts the most, has won the game. 


i 



— -—- 











152 



LITTLE GAMES WITH CARDS. 


GENERAL DIRECTIONS. 

There are fifty-two cards in every pack, and of these 
cards there are four suits; two red, which are Dia¬ 
monds and Hearts, and two black, which are Spades 
and Clubs. In every suit there are ten cards, marked 

















g^oor-- 


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AMERICAN GIRLS BOOK. 


153 


with spots, in different numbers, from one to ten. 
Those that have but one spot are called Aces. The 
Ace of Spades is always handsomely ornamented with 
the National Coat of Arms, or some other device. The 
kings, queens, and knaves, are called Court Cards. 
The four kings have crowns on their heads, and long 
robes down to the ground. The queens wear hoods, 
The knaves have short coats, which do not cover their 
legs. In many games, the aces are considered superior 
to the kings; the latter being above the queens, and the 
queens are superior to the knaves. 

Previous to beginning the game, the cards are shuf¬ 
fled by mixing them indiscriminately with the hands. 
The whole pack or pile is then laid on the table, and, if 
all the company are equally expert, they may cut for 
deal. If not, the dealing or distribution of the cards 
should be allotted to the one that is likely to do it best. 
In cutting for deal, you lift about half the cards from 
the pack, and look at the bottom after you take them up. 
She whose card, on showing it, proves to be the highest 
number, takes the pack and deals ; distributing -.hen? 
equally all round. When the cards are dealt, (which 
must always be done of course with the blank side up¬ 
permost,) each player takes up hers and examines them, 
taking care not to allow any one else to see what she 


t^j^Tra-r--- 











AMERICAN GIRL’S BOOK. 

has. They had better be assorted, putting all of each 
suit together; but this should be done very quickly, al« 
ways being cautious to hold them so as not to be seen. 
The proper way of holding a handful of cards is to take 
them in your left hand, spreading them out like a fan, 
putting all your fingers at the blank side, and confining 
them on the face or coloured side with your thumb only. 
When you are going to play a card, take it out from the 
rest with the thumb and forefinger of your right hand, and 
lay it on the table. 

You must neither show your own cards nor peep at 
the cards of your companions. 

The cards must always be well shuffled previous to 
dealing. 



EXPEDITION. 

This is a very easy little game, and is soon over. 
vYe will suppose Mary, Lucy, Jane, and Susan to be 
playing. The cards having been well shuffled by Mary, 
they all cut for deal. Susan turns up a three, Jane a 
five, Lucy a king, and Mary a seven. Of course, Lucy 
deals, her card being highest. She deals out the whole 
pack equally, beginning with Jane and ending with her¬ 
self, and turning up the last card, (which is the ten of 









AMERICAN GIRL’S BOOK. 


|J]j^rrrw-v. 


- 


AMERICAN GIRL’S BOOR. 15* 

clubs,) and laying it in the middle of the table. In this 
game, the players do not look at their cards, but keep 
them before them on the table in an even pile, with the 
blank side uppermost. 

As the card turned up on the table is the ten of clubs, 
Jane, who plays first, must take a card off her pile, and, 
turning up its face, lay it on the ten of clubs. It may 
possibly be the five of hearts, or the three of spades; but 
she is to continue to play one card after another, till she 
happens to come to a ten. When she has chanced to 
arrive at the right card, she takes up all that have been 
already played and lays them aside. Susan being next, 
plays a card in her turn, which perhaps is the six of 
diamonds; and Lucy, who is next, must take cards off 
her pile and play them till she comes to a six. She 
then takes up those that have just been played, and puts 
them aside. Mary’s turn now comes, and she plays the 
four of spades, and Jane lays cards on it till she comes 
to a four. The next card that is laid out to be matched 
is the king cf spades, and finally a king is played upon 
him. 

In this manner, the game goes round, and she is the 
winner who has played out all her cards first—for in¬ 
stance, Mary. 

It is to be observed, that the players do not look at 




































156 


AMERICAN G I R L’S BOOK. 


their cards, and know not what they are playing till * 
they have taken it from the pile before them and turned 
up its face. 


RECRUITING OFFICER. 



This little game is very simple, and can be played by 
*ny number. 

Deal a card to each of the company, and a card to the 
ooard (that is, a card must be laid in the middle of the 
table,) and continue to do so till the whole pack is dealt 
out, by which time there will be as many cards on the 
board, as have fallen to the share of each individual, and 
if there are two of a sort, they must be laid one on 
another. 

Every one in turn must try to match one of the cards 
on the board by playing on it a similar one from her 
own hand. Thus an ace must be played on an ace, a 
ten on a ten, a king on a king, &c. No one must play 
two cards at once ; but if she has two of a sort like any 
one on the board, she must not play the second till her 
companions have had their turn of trying to iratch 
something. 

When all the four cards of the same number are out, 
they must be turned down with the blank side upper* 




9 














AMERICAN GIRLS BOOK. 


157 


most, to show that there is nothing more to be done 
with them. 

Whoever is unable to match any of the cards on the 
board, loses her turn of playing. 

When all the cards on the board have been matched, 
they must be put aside, and a new board formed by each 
of the company shuffling the cards in her hand, and, 
without looking at them, dealing one to the board. The 
play then goes on as before. She, that first succeeds in 
playing out all her cards, is the winner of the game. 


TOMMY COME TICKLE ME. 

The whole pack having been dealt out, Mary, the 
leader, plays any card she pleases, (for instance, a king,) 
saying, as she lays him down, “Here’s a very good 
king for me.” Lucy then plays another king, and says, 
“ Here’s another, as good as heJane plays a third 
king, saying, “ Here’s the best of all the three and 
Anne, who plays the fourth king, says, “ And here’s 
Tommy come tickle me.” 

If, when your turn comes, you cannot play the re¬ 
quired card, you must say, “ It passes me.” 

If you happen to have in your hand two cards of the 


















158 


AMERICAN GIRL S BOOK. 


sort that is wanted, you may play them both in immedi¬ 
ate succession; and the same if, by a rare chance, you 
have three. 

She, who plays the fourth card or “Tommy come 
tickle me,” takes up the trick, as it is called, and lays it 
beside her. It is then her turn to play the next. 

The one that is out first is the winner. 


OLD MAID, OR OLD BACHELOR. 

This game, when played by boys, is called Old 
Bachelor, and three of the knaves are taken out of the 
pack and laid aside ; the fourth knave being retained as 
the Old Bachelor. 

When played by girls, three of the queens must be 
put away as useless ; the fourth queen remaining in the 
pack to personate the Old Maid. This game may be 
played by any number, and the^cards are dealt equally 
all round. Whoever, on looking at her cards, finds 
among them the queen, or Old Maid, is to keep that cir¬ 
cumstance a secret from her companions. She that sits 
at the left hand of the dealer leads or begins the game, 
which she may do by throwing down two aces if she 
has them, or two kings, two tens, or any two cards of 


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AMERICAN GIRLS BOOK. 


159 


the same sort. Her left-hand neighbour comes next, 
and throws down two nines or two fives. If she cannot 
play two of the same kind, she must borrow one of her 
next neighbour on the left hand, who for that purpose 
lays down her cluster of cards on the table (the blank 
sides uppermost,) and the borrower selects one at ran¬ 
dom, without knowing what it is. If she finds it the sort 
of cards that she wants, she plays it with the correspond¬ 
ing one of her own. If it is a card that is at present of 
no use to her, she must keep it for another time, and in 
consequence loses her turn of playing. 

The next then may play two fours or two sevens, or 
Borrow (if she cannot play) two that are similar; and if 
she chance to borrow the Old Maid, it will of course be 
useless to her, as there is no other card to match it, the 
three other queens having been left out of the pack. 
However, she must say nothing about it. Some one 
may unconsciously borrow it of her in the course of the 
game. . . 

After awhile, there will be more difficulty in match¬ 
ing the cards, and the borrowing and losing of turns 
will increase, as no one must play unless they can lay 
down two that are alike in number. Whoever is the 
first to play out all her cards, wins the game ; but it is 
continued by her companions as long as any cards are 































160 


AMERICAN GIRL’S BOOK. 


left, that they may see who has the Old Maid, which 
will be the last that remains. 

The cards as they are played, are not removed from 
the middle of the table, but lie there in a heap with 
their faces upwards, till the game is over. 


SPECULATION, OR MATRIMONY. 

This game must be played by four persons ; at least 
it does not go on so well with a larger or smaller num¬ 
ber of players. 

The cards having been dealt equally allround, every 
person is to look over hers and ascertain (though with¬ 
out mentioning it) the sort of which she has most. 
Whoever succeeds first in obtaining all of one sort, 
wins the game. 

For instance, if Mary, on examining her, cards, finds 
that she has a large proportion of spades, she may ,set 
her mind on winning the game by collecting a whole 
handful of spades, and getting rid, as soon as possible, 
of all her clubs, hearts, and diamonds. To effect this, 
she begins by taking one of her clubs, or any other card 
that she does not want, and, turning it down on its face, 
she slips it along the table to Lucy, her left hand neigh* 






AMERICAN GIRLS BOOK. 


161 




", 


■I 


hour. Lucy, before she looks at the card Mary has 
given her, (and having perhaps set her mind on collect¬ 
ing none but diamonds,) takes one of the cards she wishes 
to get rid of, and slips it, with the blank side uppermost 
to Jane ; and, before Jane takes up Lucy’s card, she 
must slip one of hers that she does not want to Fanny; 
who, having fixed on hearts, slips one of her spades to 
Mary, which happens to be the very thing that she 
wanted. Mary, before she sees Fanny’s card having 
again given one of hers to Lucy. Thus the game goes 
round, and if Mary succeeds in changing away all her 
other cards, and constantly chances to receive spades 
for them, her hand will soon be filled with spades only; 
and, as soon as she has completed her suit, she must 
display her cards and proclaim herself the winner. Per¬ 
haps, however Lucy may be beforehand with her, and 
obtain a full suit of diamonds, in which case, Lucy wins 
the game. 

If Mary perceives, by the cards that are sent to her, 
that another person has^also fv"d on spades, she had 
better change her mind, and set it on hearts or some¬ 
thing else, in which she will probably succeed better, 
as it is impossible for two to obtain a handful of the 
same suit. 


i 

n 




L 





O 






















162 


AMERICAN GIRL’S BOOK. 


Every one must keep her own secret with respect to 
the suit she has determined on, and no one must look at 
the card that is given her, till after she has slipped her 
own card to her left-hand neighbour. 


LEND ME YOUR BUNDLE, NEIGHBOUR. 

This may be played by any number of persons. Deal 
a card to every one, and a card to the board; that is, 
to the middle of the table. The cards dealt to the board 
must afterwards have their faces turned upward. 

Each of the players must try in turn to match a card | 
on the board with one of the cards in her hands, playing 
a five on a five, an ace on an ace, a king on a king, &c. 
Having matched a card, she takes up both, and lays 
them beside her with their faces up. If she can match 
nothing from her own stock of cards, she must look 
round at the piles of cards taken by her companions 
(and caded their bundles,) ancUpee if she can find on the 
top of one of these piles, such a card as she wants. For 
instance, if Mary (when it is her turn) sees a queen on 
the board and a queen on the top of Lucy’s pile of taken 
cards or tricks, she can (if she has no queen in her own 
hand) appropriate to herself the whole of Lucy’s pile 






















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AMERICAN GIRL’S BOOK. 


163 


provided that it is Mary’s turn to play, and that she has 
no card of her own that will match any thing on the 
board. She then takes up all Lucy’s pile of tricks, and 
lays them beside herself, without any other ceremony 
than that of saying, “ Lend me your bundle, neighbour.” 
So Lucy may be stripped of all her gains in a moment. 
If Mary can neither match one of the board-cards from 
her own hand, nor find a match on the top of any of the 
piles, she loses her turn of playing. 

When all the cards on the board have been taken up 
or exhausted, a new board is formed by each of the 
company contributing some from the stock in her hand. 
If the company is large, each gives one card; if it is 
small, each gives two. To do this, you shuffle the cards 
that you have in your hand, lay them down the blank 
side upward, and take out at random those you are to 
bestow on the board. 

As soon as any one has played out all her cards, the 
game ceases. The piles or bundles are then examined, 
and the cards in each are counted. Whoever finds in 
her bundle the greatest number of cards is the winner 
of the game. Therefore, during the progress of the 
play, every one is glad to accumulate as many as she 
can, and would be sorry when she is deprived of her 
bundle by her neighbour, if there was not at the same 















164 


AMERICAN GIRLS BOOK. 



rime something diverting in the coolness with which the 
thing is done. 


FIVE AND FORTY. 


This game may be played by any number. It has no 
resemblance to any other of the little games. 

Five cards only are dealt to each person, and then a 
card is turned with .the face upward and left on the top 
of the pack. This is the trump card, and all of the 
same suit are considered superior to the others and can 
take them immediately. We will suppose that hearts 
are trumps, and that the game goes on as follows. Lucy 
having dealt, Anne, who is on her left hand, begins the 
game, and plays the six of clubs, which her companions 
endeavour to take by playing higher cards ; as, in this 
game, it is not necessary to follow suit, the highest card 
always taking. Mary thinks she will gain the tricle by 
playing a king, but Jane finally triumphs with the three 
of hearts, which, though a low card, is a trump, and there¬ 
fore of more power. Anne hopes to take the next trick 
by playing the king of trumps, but Mary has the ace 
and therefore obtains it by trumping higher. Anne had 
better not have played her king till she had seen tha 


























AMERICAN GIRLS BOOK. 


16/1 


the ace was out. She that happens to have the greatest 
proportion of trumps in her hand, of course can get the 
most tricks. Every one lays her own tricks beside her 
in separate order, and counts them when the deal is 
over; each trick counting five, and forty-five being the 
game. This time we will suppose that Mary has three 
tricks; therefore she counts fifteen. The cards are then 
shuffled and dealt again, the card turned up as trump 
being a club. Jane has the most trumps in her hand, 
and this time Mary gains but two tricks, which with 
three before make her twenty-five. 

Next time, diamonds are trumps, and Mary has both 
the king and the ace and two low trumps beside. She 
now gains four tricks to her share, which making her 
forty-five, she wins the game, none of her companions 
counting so high. 

After this, the cards are shuffled, and a new game 
begins. It must be remembered that the highest card 
always takes, without reference to the suit; that, she 
who has last gained a trick, leads or plays the next 
card; that a trump will take any thing, unless it is 
itself taken by a higher trump; and that each trici 
counts five. 























166 AMERICAN GIRL'S BOOK. 



To build a card-house, take two cards and stand them 
up so as to face each other, and meet at the top in the 
form of a tent. Then encompass them with four other 
cards laid on their edges and representing a wall; and, 
on the top of these, lay two more as a roof. 

To build a two-story card-house, place on the first 
roof two cards in the tent-form, then add the walls and 
the second roof. In this manner, you may construQt as 
many stories as you please, one above another, till the 
whole pack is built up. 

A card-house should be erected on a very steady 
table, and great care must be taken not to shake it. 




■— 































A CHEESECAKE OF CARDS. 

This is made by laying two cards across, and then 
fixing round them four other cards; which are secured 
by raising the corners of the two first, and slipping the 
last four under them. 

These cheesecakes (as they are called) may, if well 
made, be carried about on the palm of the hand, without 
falling apart. 





























15S 


AMERICAN GIRL’S BOOK. 


AN EASY TRICK WITH CARDS. 


It is best to perform this trick with the black cards or 


dubs and spades only; at all events, the diamonds must 
be left out. We will suppose that Jane is the exhibiter. % 
Having the black cards in her hand, she must manage 
(while talking to Lucy with apparent unconcern) to get 
all the heads or tops of the cards upward or in the 
same direction. She then, spread : ng them out like a 
fan in her hand, holds them towards Lucy and desires 
her to choose or draw out any card she pleases, and to 
take it and look well at it. Lucy draws the queen of 
spades, for instance; and while she is looking at it, 
Jane dexterously turns all the other cards upside down, 
so that when the queen of spades is put back among the 
rest, it of course has the head the other way; which, 
however, is unobserved by Lucy, if she is not acquaint¬ 
ed with the trick. 

Jane then shuffles the cards, taking care not to turn 
them again so as to get them wrong. She tells Lucy 
that she can find the very card that she drew out. She 
then lays out the cards one by one on the table looking 



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AMERICAN GIRL’S BOOK. 

at them as she does so, and when she comes to the queen 
of spades she knows it to be Lucy’s card because the 
head is upright, while the heads of all the others are 
downwards. 

This trick, though very simple, excites great surprise 
in those who have not seen it before. 


GAMES WITH HISTORICAL CARDS. 

The Historical Games of Philadelphia, Boston, &c., 
are played as follows : 

In the Game of Philadelphia, for instance, are sixty 
cards, the labels or titles of which are coloured red, 
blue, green, and yellow. There are four cards on each 
distinct subject; that is, four cards of William Penn, 
four of Dr. Franklin, four of the State-House, &c. 

We will suppose the game to be played by Maria, 
Julia, Emily, and Harriet. The cards, having been 
shuffled and dealt equally all round by Maria.—Julia, 
as sitting on the left hand of the dealer, begins by lay¬ 
ing down any card she pleases; for instance, “ The 
Treaty Treefirst reading aloud the inscription. If 
Emily (whose turn comes next) has a Treaty Tree card. 


^^ 0-1 - 











she also reads it, and lays it down. If Harriet has a 
Treaty Tree, she does the same; hut if she has ilot, she 
must endeavour to borrow one of her left-hand neigh- 
Dour Maria, who for this purpose holds out to her the 
backs of all her cards, and Harriet takes one at random; 
and if it happens to be a Treaty Tree, she plays it, first 
reading it, of course. If it is not the card she wants, 
she must keep it for another occasion, and for the pres¬ 
ent she loses her turn of playing. Whoever is out first, 
wins the game. 

If any one has two cards of the same title (two Dock- 
streets, for instance,) she must not play them in imme¬ 
diate succession, but keep one till her turn comes round 
again. 

With these Historical Cards any of the other juvenile 
games may be played,—as, Old Bachelor, Matrimony, 
&c. omitting to read the inscriptions. 

In playing Old Bachelor with the Philadelphia cards, 
leave out of the pack three of the Dr. Franklins, and 
the fourth will answer for the Old Bachelor. 


In playing Matrimony, you must have but 
rards of each colour, and leave out all the rest. 


twelve 


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AMERICAN GIRL’S BOOK. 


173 





ENIGMAS, CHARADES, &c. 


Enigmas, charades, rebuses, and conundrums, come 
under the general name of riddles. 

An enigma describes the chief properties or character¬ 
istics of the thing to be guessed. 

A charade must refer to something that has two or 
more syllables, each syllable being a distinct word. 
The syllables, when put together, make what is called 
the whole. 

A rebus is founded on a word which may be express¬ 
ed by alluding to other words; frequently adding or 
emitting letters. 

A conundrum is a humorous comparison between 
wo things very different in their nature. The resem- 


i 


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174 


AMERICAN GIRL’S BOOK. 





i 


blance is made out by a play on words ; frequently at 
the expense of a little false spelling, or mispronuncia¬ 
tion. 

We believe that few of our. young friends will be dis¬ 
pleased at the plan we have adopted of inserting the 
solution immediately after every riddle. It will save the 
trouble of turning continually over the leaves and search¬ 
ing out the corresponding numbers. 

Where there are several children, each in turn can 
take the book and read aloud to the others a nacre or 
* two of the riddles, while they, not seeing the answers 
endeavour to guess them. 


i 



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175 




t. 

'Tis true l have both lace ana nanus, 

And move before year eye ; 

But when I move, I always stand, 

And when I stand, I lie. 

A CLOCK. 

2 . 

’Tis in the church, but not in the steeple, 
’Tis in the parson, but not in the people, 
’Tis in the oyster, but not in the shell, 
’Tis in the clapper, but not in the bell. 

THE LETTER R. 

3 . 

There is a thing that nothing is, 

And yet it has a name, 

’Tis sometimes tall, and sometimes short, 
It joins our walks, it joins our sport, 

And plays at every game. 

A SHADOW. 


-- 





















J 


176 AMERICAN GIRL’S BOOK. 

4 . 

Let those who have skill to make mysteries clear, 
Now try to discover my name ; 

Four brothers I have, and the fifth 1 appear, 

But our age is exactly the same. 

Yet I to tneir stature shall never attain, 

Though as fast as them always I grow ; 

By nature I’m destined a dwarf to remain— 

So my riddle you’ll easily know. 

THE LITTLE FINGER. 

5 . 

If I kiss you by mistake, 

What war-weapon do I make ? 

A BLUNDER-BTTSS. 


Use me well, and I’m every-nody. Scratcn my back, and I’m 
nobody. 


A LOOKING-GLASS. 


What is that which is neither flesh nor bone, and yet has fcui 


fingers and a thumb. 


A GLOVK. 


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34 ^- 




AMERICAN GIRL’S BOOK. 


b. 


177 


What is that which is perfect with a head, and perfect without 
a head ; perfect with a tail, and perfect without a tail; perfect 
with a head and tail, and perfect without a head or tail ? 

A WIG. 

9 . 

I never was, but always am to be ; 

None ever saw me, you may never see ; 

And yet I am the confidence of all 

Who live and breathe on this terrestrial ball 

The princely heir, his honours not yet blown, 

Still looks to me for his expected crown ; 

The miser hopes I shall increase his wealth ; 

The sick man prays me to restore his health ; 

The lover trusts me for his destined bride j 
And all who hopes or wishes have beside ; 

Now name me, but confide not, for believe « 

That you and every one I still deceive 

TO-MORROW. 

10 . 

Pray tell us, ladies, if you can, 

Who is that highly-favoured man, 

Who, though he’s married many a wife, 

May be a bachelor all his life ? 

CLERGYMAN, OR A JUSTICE OF THE PEACE 


















178 


AMERICAN GIRL’S BOOK. 


11 . 



l’m m every one’s way, yet no one I stop, 
My four horns each day 
Horizontally play, 

And my head is nailed on at the top. 


A TURNSTILE. 


12 . 


A word of one syllable, easy and short, 

Reads backward and forward the same ; 

It expresses the sentiments warm from the heart, 
And to beauty lays principal claim. 


THE EYE. 


13. 


I am taken from a mine; and shut up in a wooden case, from 
w hich l am never released, and yet I am used by almost every 
body. 

‘a lead pencil. 

14. 

What is that which lives only in winter; would die in sum¬ 
mer ; and grows with its root upwards ? 


AN ICICLE. 


15 



A wcrd of three syllables seek till you find, 
Which has in it the twenty-six letters combin’d. 

THE ALPHABET. 












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AMERICAN GIRL’S BOOK 

179 

16. 

In spring I look gay, 

Drest in handsome array, 

But in summer more clothing I wear ; 

When colder it grows, 

I throw off my clothes, 

And in winter quite naked appear. 


A TREE. 


17. 


When first my maker form’d me to his mino, 

He gave me eyes, yet left me dark and blind $ 

He made a nose, yet left me without smell; 

A mouth, but neither voice nor tongue to teL; 

I’m used at night, yet ladies oft, through me, 
Although I hide the face, do plainly see. 


A MASK. 


18. 


We are little airy creatures, 

All of different voice and features : 

One of us in glass is set; 

One of us you’ll find in jet; 

One of us is set in tin; 

And the fourth a box is in ; 

If the last you should pursue, 

It will never fly from you. 


THE VOWELS : A—E—I—0—:U 









AMERICAN GIRL’S BOOK 




ISO 


19. 

My head and tail both equal are, 

My middle slender as a bee ; 

Whether I stand on head or heel, 

Is all the same to you or me : 

But if my head should be cut off, 

(The matter’s true, although ’tis strange,) 
My head and body sever’d thus, 
Immediately to nothing change. 


the figure 8. If divided, each part becomes 0. 


2f. 

I have but one eye, and that eye without sight, 
Yet it helps me whatever I do ; 

I’m sharp without wits, without senses I'm bright, 

The fortune of some, and of some the delight, 
And I doubt not I’m useful to ycu. 

A NEEDLE. 

21 . 

Although a human shape I wear, 

I mother never had, 

And though no sense nor life I share, 

In finest silks I’m clad. 

By every miss I’m valued much, 

Belov’d and highly priz’d ; 

Yet still, my cruel fate is such, 

By boys I am despis’d 


A DOLL. 







-* 


AMERICAN G i R L’S BOOK, 


1 ! 



22 . 


Of a brave set of brethren I stand at the head, 

And to keep them quite warm I cram three in a bed; 

Six of them in prison I cruelly put; 

And three I confine in a mean little hut; 

To escape my fell grasp, three reside in the sky •, 

And though strange it may seem, we have all but one eye ; 
Our shapes are as various as wond’rous our use is, 

Of science the source, and the soul of the muses. 


THE LETTER A. 


On looking over this enigma a second time , it mill be seen that 
there are three letters in the word bed, six in the word prison, three 
in hut, and three in sky. Of course there is but one i in the whole 
alphabet. 


23. 


Two brothers wisely kept apart, 
Together ne’er employ’d; 

Though to one purpose we are bent, 
Each takes a different side. 

We travel much, yet prisoners are, 
And closv: confin’d to boot ; 

Can with the swiftest horse keep pace, 
Yet always go on foot. 

A PAIR OF SPURS. 


24. 


I am a vehicle that’s wond’rous large, 

But neither coach nor waggon, ship nor barge 


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.82 


AMERICAN GIRL’S BOOK. 


Whether sitting, standing, lying, 

With you I’m miles uncounted flying; 

You hear not a breath while mute as death, 

My journey I pursue ; 

With a mighty swift whirling, I’m constantly twirling, 
But ’tis all unfelt by you. 

Some travel with me, who never can see, 

Nor believe I convey them a yard; 

And for years I have taken them, 

Nor ever forsaken them, 

And yet claim’d no reward. 

And, gentles, against or with your will, 

Or sleeping or waking I’ll carry you still. 

THE GLOBE OF THE EARTH. 


> . 


25 . 

I am red, black, or white ; I am blue, grey, or green , 
I’m intended to hide what is meant to be seen ; 

Like mortals inflexible often am I, 

Till by the tongue softened I’m brought to comply • 

Of prodigal spendthrifts I am an apt token, 

I only exist to be ruined and broken. 

A WAFER. 



26 . 

I was, but am not—ne’er shall be again; 
Myriads possess’d me, and possess’d in vain ; 
To some I prov’d a friend, to some a foe; 
Some I exalted, others I laid low; 


i 

_11 1 

•- 






















jg^TOOn- 


AMERICAN GIRLS BOOK. 

To some I gave the bliss that knows no sigh 
And some condemn’d to equal misery. 

If conscious that we met, and but to sever, 
Now say to whom you bade farewell forever. 

YESTERDAY. 


27, 


What force or strength cannot get through, 
I with a gentle touch can do; 

And^nany in the street would stand, 

Were I not as a friend at hand. 

A KEY. 


28, 


Though I live in a study, I know not a letter; 

I feast on the muses, but ne’er am the better, 
Can run over English, o’er Latin, o’er Greek, 
Yet none of those languages ever could speak. 

A MOUSE IN A LIBRARY. 


What yesterday was, and what to-morrow will be 

TO-DAY. 


Two bodies I have, though they’re both joined in one, 
And the stiller I stand, the faster I run. 


\S3 


■ 


AN HOUR-GLASS, 














164 


AMERICAN GIRL’S BOOK. 


— 



31 . 

What is that which, by adding something to it, will become 
smaller ; but if you add nothing, will grow larger ? 

A HOLE IN A STOCKING. 


32 . 


Suppose there was a cat in each corner of the room ; a cat 
sitting opposite to each cat ; a cat looking at each cat ; and a 
cat sitting on each cat’s tail—how many cats would there be ? 

Four. Every one of the four would be opposite to each other, 
might look at each other, and would sit on her own tail. 


33 . 


Mr. Jones told another gentleman that he had six daughters, 
and each daughter had a brother—how many children had Mr. 
Jones ? 

Seven. He had one son, who of course was brother to all the 
six daughters. 


34 . 


From the depths of the sea, from the foot of a rock, 
I’m brought to the earth to do dirty work, 

I’ve mouths to take in all the liquor I meet, 

And am given to drinking, though never to eat. 


A SPONGE. 

35 . 



A damsel did begin the fray ; 


I saw a sight the other day, 
















AMERICAN GIRL S BOOK, 


185 


She with a daily friend did meet, 
Then standing in the open street, 

She gave such hard and heavy blow* 
He bled five gallons at the nose ; 

Yet neither did he faint nor fall, 

And gave her no abuse at all. 

A PUMP. 


36 , 


As I was going to St. Ives, 

I chanced to meet with nine old wives. 

Each wife had nine sacks, 

Each sack had nine cats, 

Each cat had nine kits; 

Kits, cats, sacks and wives, 

Tell me how many were going to St. Ives ? 

Only myself. As I met all the others , they of course nere com¬ 
ing from St. Ives. 

37 . 

Little Miss Netticoat, with a white petticoat, 

And a red nose ; 

She has no feet nor hands ; and the longer she stands 
The shorter she grows. 


A LIGHTED CANDLB 


38 . 


What is that which goes round the house and round the house 
and leaves a white sheet in every window 1 

SNOW. o 

















AMERICAN GIRL’S BOOK. 





Rowly bowly sat on a wall, 

Rowly bowly had a great fall; 

Threescore men and threescore more, 

Couldn’t set rowly bowly as it was before. 

An Egg ; which, when it falls and is broken, can never be restored 


What is that which in the morning walks on four legs; walks 
on two legs at noon ; and in the evening walks on three legs ? 

Man. In infancy, he creeps on all fours ; when grown up, he 
walks erect ; and when old and decrepid, he is obliged to assist his 
steps with a stick. This is the famous riddle of the Sphinx. 

41 . 

What is that which a pudding has, and which every thing 
else that can be found in the world has also ? 

A NAME. 


42 . 


There was a man who was not born, 
His father was not born before him, 
He did not live, he did not die, 

And his epitaph is not o’er him. 

the man’s name was NOT. 

43 . 


A duck before two ducks; a duck behind two ducks ; and a 
duck between two ducks. How many ducks were there in all ? 

THREE. 



—— 













AMERICAN GIRL’S BOOK, 


1 ! 



* am small ; but when entire, 

Of force to set a town on fire; 

Let but one letter disappear, 

I then can hold a herd of deer ; 

Take one more off, and then you’ll find, 
I once contain’d all human kind. 

SPARK. PARK. ARK. 


45 . 


The beginning of eternity, the end of time and space, 
The beginning of every end, and the end of every place. 


THE LETTER E. 


46 . 


In comes two legs carrying one leg, which he lays down on 
three legs. Out goes two legs. Up jumps four legs, and runs 
off with one leg. Back comes two legs, snatches up three legs, 
and throws it after four legs, to get back one leg. 

A man comes in with a leg of mutton which he lays down on a 
three-legged stool and goes out. A dog runs aw.ay with the leg of 
mutton. The man returns , and throws the stool at the dog to mahi 
him drop the leg of mutton. 


47 . 


“ What relation is that gentleman to you ?” said one lady to 
another. She answered, u His mother was my mother’s only 
child.'’ 



HER SON. 













t2^no,-- 


188 


AMERICAN GIRL’S BOOK. 



48 . 


I’m longer and longer the lower I fall, 

And when I am highest I’m shortest of all. 


A PLUMMET. 


49 . 


I’m a singular creature, pray tell me my name— 

I partake of my countrymen’s glory and fame. 

I daily am old, and I daily am new, 

I am prais’d, I am blam’d, I am false, I am true— 
I’m the talk of the nation while I’m in my prime, 
But forgotten when once I’ve outlasted my time. 

In the morning no Miss is more courted than I, 

In the evening you see me thrown carelessly by. 
Take warning, ye Fair,—1 like you have my day, 
But alas ! you like me must grow old and decay. 

A NEWSPAPER. 


50 . 


A man who was going to cross a river in a small boat, had 
charge of a fox, a goose, and a basket of corn. He could only take 
one at a time, and was much puzzled how to get them all over 
so as to save them from each other ; knowing that if left togeth¬ 
er the fox would eat the goose; and that the goose could not be 
trusted alone with the basket of corn, which she would certainly 
devour if allowed to remain with it while the man carried the 
fox across the river. If the goose was taken over first, it is true 
that the fox would not meddle with the corn; but then, after being 
carried across the water and left with the goose, he would surely 
eat her, while the man went back for the corn; and if the core 


terror-- 


















•— 




AMERICAN GIRL’S BOOK. 


189 


was taken first, the fox would demolish the goose when left alone 
with her. 

How did the man manage to convey the fox and the goose, 
and the basket of corn, across the river in safety ? 

He concluded to make four trips, instead of three. First, he took 
the goose , leaving the fox with the corn. Next, he took the fox and 
brought back the goose. Thirdly, he carried over the basket of corn, 
and lastly, he conveyed the goose across the river a second time. 

By this means the fox was never left alone with the goose, nor the 
goose with the corn. 


51 . 

Either backward or forward if you take me, ye fair, 
I am one way a number, the other a snare. 

TEN. NET. 


52 . 

I’m seen at your dinner; if I were not there, 

But meanly provided your board would appear; 
You seldom invite me to coffee or tea, 

But never, I’m sure, take your wine without me. 

GLASS. 


53 . 

With all things I’m found, yet to nothing belong ; 
Though a stranger to crowds, yet I’m still in a throng; 
And though foreign to music and all it’s soft powers, 

In songs and in epigrams, ladies, I’m yours; 


- 




Z 







190 


AMERICAN GIRL’S BOOK. 


Though a friend to true glory, I’m ne’er in renown ; 
Though no kingdom’s without me, I hold not a crown ; 
Both with kings and with beggars my birthright I claim, 
But enough has been told to discover my name. 

THE LETTER G. 


54 . 

Form’d half beneath and half above the earth, 
We sisters owe to art our second birth ; 

The smith’s and carpenter’s adopted daughters, 
Made upon land to travel o’er the waters ; 
Swifter we move the tighter we are bound, 

Vet neither touch the sea, nor air, nor ground. 
We serve the poor for use, the rich for whim. 
Sink when it rains, and when it freezes, skim. 

A PAIR OF SKATES. 

55. 

I tremble with each breath of air, 

And yet can heaviest burthens bear ; 

’Tis known that 1 destroy’d the world, 

And all things in confusion hurl’d ; 

And yet I do preserve all in it 
Through each revolving hour and minute. 

WATER. 


56 . 

There is a letter in the Dutch alphabet, which named makes a 
ady of the first rank in nobility ; walked on, it makes a lady of 




























AMERICAN G S R L’S BOOK. 


191 


the second rank; and reckoned, it makes a lady of the third 
rank. 


Named, it is dutch-ess.— Walked on, it is marchion-ess— arid 
reckoned, it is count-ess. 

57 . 

What is that word of one syllable, which, if the two first Vetters 
are taken from it, beomes a word of two syllables ? 

PLAGUE. AGUE. 

08. 

Eleven great men ; fifteen celebrated women ; twenty-three 
extraordinary children; thirty-two fine pictures ; a new manner 
of cook.ng oysters ; the best way of making coflee , a great im¬ 
provement in the cultivation of grapes ; ten fashionable bonnets; 
and the substance of an hundred books: may all be expressed by 
a liquid in common use, and of only one syllable. 

INK. 

59 . 



I'm seen in the moon, but not in the sun; 
I’m put in a pistol, but not in a gun ; 

I’m found in a fork, but not in a knife ; 

I belong to the parson, but not to his wife ; 
I go with the rogue, but not with the thief; 
I’m seen in a book, but not in a leaf; 

I stay in a town, but not in a street; 

I go with your toes, but not with your feet. 


—- ---■. 


THE LETTER O 



























92 


AMERICAN GIRLS BOOK. 


60 . 


In every city, town and street, 

’Tis ten to one but me you meet: 
Sometimes adorn’d in shining gold, 
Splendid and brilliant to behold j 
And different characters I wear, 

A lamb, or lion, buck or bear, 

A dragon fierce, or angel fair, 

An eagle or a warrior bold; 

These various forms on me behold. 

But though exalted as a chief, 

I’m gibbeted like any thief. 

A. SIGN. 

61 . 

I ever live man’s unrelenting foe, 

Mighty in mischief, though I’m small in size; 
And he, at last, that seeks to lay me low, 

My food and habitation both supplies. 

WORM. 

62 . 


[This enigma was written by the celebrated Dr. By/os of Boston. J 

It is as high as all the stars, 

No well was ever dug so low; 

It is in age five thousand years, 

It was not made an hour ago j 

It is as wet as water is, 

No red-hot iron e’er was drier ; 

As dark as night, as cold as ice, 

Shines like the sun, and burns like nre: 












AMERICAN GIRL’S B 0 (, K. 

No soul, no body to consume ; 

No fox more cunning, dunce more dull; 
’Tis not on earth, ’tis in this room, 

Hard as a stone, and soft as wool; 

’Tis of no colour but of snow j 
Outside and inside, black as ink ; 

All red, all green, all yellow, blue ; 

This moment you upon it think. 

In every noise it strikes your ears ; 

’Twill soon expire, 'twill ne’er decay • 

It always in the light appears, 

And yet ’twas never seen by day. 

Than the whole earth it larger is, 

Than a small pin’s point it is less; 

I’ll tell you ten times what it is, 

Yet, after all, you shall not guess. 

’Tis in your mouth ; ’twas never nigh ; 

Where’er you look you see it still; 

'Twill make you laugh, ’twill make you cry; 
You feel it plain, touch what you will. 

SOMETHING. 

63 . 

Belore creating Nature will’d 
That atoms into forms snould jar, 

By me the boundless space was fill’d, 

On me was built the first-made star. 


— 1 












’94 


AMERICAN GIRL’S BOOK. 

For me the saint will break his word ; 

By the proud atheist I’m rever’d 5 
At me the coward draws his sword j 
And by the hero I am fear’d. 

Scorn’d by the meek and humble mind, 

Yet often by the vain possess’d ; 

Heard by the deaf, seen by the blind, 

And to the troubled conscience rest j 

Than wisdom’s sacred self I’m wiser, 

And yet by every blockhead known ; 

I’m freely given by the miser, 

Kept by the prodigal alone ; 

As vice deform’d, as virtue fair, 

The courtier’s loss, the patriot’s gains ; 

The poet’s purse, the coxcomb’s care ; 

Guess—and you’ll have me for your pains. 

NOTHING. 


64 . 

* FRENCH ENIGMA. 

Je suis le capitaine de vingt-six soldats, et sans moi Paris 
icroit pris. 

THE LETTER A. 












195 





1. 


My first is on the reindeer’s head, 
My second is a measure, 

My total is a favourite dance 
That’s always seen with pleasure. 

HORNPIPE. 


2 . 

My first is irrational, my second is rational, my third is me¬ 
chanical, and my whole is scientifical. 

HORSEMANSHIP. 


3 . 


Dear is my first when shadowy night is near; 
But ’tis my second makes my first so dear; 
My whole with decent care my first preserves 
And thus to be my second well deserves 

HOUSE-WIFE. 


4 . 


My first marks time, my second spends it, and my whole 
s it. 



WATCHMAN. 
















196 


AMERICAN GIRL’S BOOK. 


) 


5 . 


My first is coarse and homely, food, 

The cotter’s fare, but still ’tis good; 

My second you may quick define, 

The place in which we dance or dine; 
My whole, when fresh and nicely cook’d, 
No epicure e’er overlook’d. 

MUSH-ROOM. 


6 . 

My first I hope you are ; my second I see you are ; my whol< 
I know you are. 


WELCOME. 


7 , 


My first is in winter the warmth you desire ; 

My second is cold to the touch ; 

Both together are cold, yet appear all on fire, 
Which has puzzled philosophers much. 

GLOW-WORM. 


8 , 


My first has its place by the side of a stream • 

In accents of music my second’s express’d: 

My whole has the miser’s unbounded esteem, 

Though oft found relieving where be has oppress’d. 

BANK-NOTE. 


9 . 


My first is a colour, my second is rough. 


My whole is a story you know well enough. 



-- 


BLUE BEARD, 












AMERICAN GIRL’S BOOK. 


1 ! 



10 . 


My first oft preys upon my second ; 
My whole a bitter shrub is reckon’d. 

WORM-WOOD. 


11 . 


My first’s the foe of rats and mice; 

My next you’ll meet with in a fair; 
My third, of various form and price, 
Oft decorates a lady’s hair ; 

My whole, in foreign climes, is said 
To form a mansion for the dead 

CAT-A-COMB. 


12 . 


My first is possess’d of the wonderful art 
Of painting the feelings that glow in the heart; 

Yet had it not been for my second’s kind aid, 

No respect had my first from a creature been paid; 
The name of my whole you can surely reveal, 
When I tell you it’s chiefly composed of bright steel 

PEN-KNIFE. 


13 


My first is productive of light; 

My second to wood has affiance; 
My whole is high polish’d and bright, 


And my first on its aid has reliance 

CANDLE-STICK. 













198 



AMERICAN GIRL’S BOOK. 

14 . 

My first is a pleasant regale, 

Which depends on my second’s assistance 
For which, if their efforts should fail, 

My whole may still keep in existence. 


FRUIT-TREE. 


15 . 


My first is either bad or good, 

May please or may offend you *, 

My second, in a thirsty mood, 

May very much befriend you. 

My whole, though term’d “ a crue. word,” 
May yet appear a kind one : 

It often may with joy be heard, 

With tears may often blind one 


FARE-WELL. 


16 . 


If my second you can, at request of a friend, 

Then let not my first be preferred; 

Well performed, (if it answers no permanent end,) 
It doubtless will make you my third. 

PLEA-SING. 

17 . 

When night brings on her solemn hour 
And silence reigns in awful power, 

Then mortals to my first repair, 

And bid adieu to toil and care : 
















f© 1 
< 
j 

l AMERICAN GIRL’S BOOK. 

199 

My next’s for various use design’d, 

Yet oft my first you there will find; 

Within my whole you seek repose, 

Forgetting life and all its woes. 

BED-CHAMBER. 


18. 

My first’s a mean and humble bed, 

Where poverty reclines; 

You’ll find my next on bushes spread, 

When summer’s sun-beam shines. 

My whole’s a pleasant cooling fruit, 

That fails not every taste to suit. 

STRAW-BERRY. 


19. 

My first in your face has a prominent place; 

My next in a smile you appear ; 

A bundle of sweets my whole will complete, 
When Flora bedizens the year. 

NOSE-GAY. 


20. ‘ 

Behold my mighty first with thund’ring sound 

Hurls forth my second with destructive breath ; 

My whole makes legions press the bloody ground, 
And close their eyes in darkest shades of death. 

CANNON-SHOT. 


21. 

My first is a term implying a firm 

When it follows a gentleman’s name ; 











My next plainly tells of a female who dwells 
In seclusion where men never came; 

Martial sounds from my third, redoubling are heard^ 
When the demon of war has awoke; 

But what am I doing, this trifle pursuing; 

For really my whole’s but a joke. 

CO-NUN-DRUM. 

22 . 

My first upon your table oft 
At breakfast time has been, 

And in your stable, rais’d aloft, 

My second may be seen. 

My whole contains my first in rows, 

And you possess it, I suppose. 

TOAST-RACK. 

23 . 

Ages ago, when Greece was young, 

And Homer, blind and wandering, sung 
Where’er he roam’d through street or field, 

My first the noble bard upheld. 

Look to the new moon for my next, 

You’ll see it there ; but if perplex’d, 

Go ask the huntsman, he can show 
My name, he gives it many a blow. 

My whole, as you will quickly see, 

Is a large town in Tuscany, 

Which ladies soon will recognize j- 
A favourite head-dress it supplies 

LEG-HORN. 



















AMERICAN GIRL’S BOOK* 
24 . 

He who in a ditch doth roll 
Till he scrambles out, poor soul, 

Rich and clever though he be, 

Is my first most certainly. 

What good you can, if you are wise, 
You will my next;—my third supplies 
A term to abstinence devoted ;— 

He who as my whole is noted, 

Well may dull and useless be ; 

May it ne’er be said of me 


2C1 


IN-DO-LENT. 


25 . 


My first denotes equality—my second, inferiority—my third, 
superiority. 

MATCH-LESS. 

26 . 

My first some men will often take • 

Entirely for my second’s sake; 

But very few indeed there are 
Who both together well can bear. 

MIS-FORTUNB. 

27 . 

My first is a toy; my second is less than a name ; my whole 
is nothing at all. 

FANTOM. 


- 









-* 


202 


AMERICAN GIRL’S BOOK. 



28. 


My first denotes my constant place, 
My second’s what I’m made of, 
My whole is useful in a room 
Where eating’s made a trade of. 

SIDE-BOARD. 


29. 


My first’s to object in a troublesome way; 

When you come to my house, do my second I pray ; 

■* With nails, saws and hammers, planes, gimlet, and glue, 
A noisy companion—my total you view. 


CARP-ENTER, 


30. 


My first proclaims my whole is near, 

My second fills the soul with fear, 

My whole mid woods and rocks is found, 
And gives a fierce and deadly wound 

RATTLE-SNAKE. 


31 


Far from the noisy scenes of life, 

Its business and its fear, 

My first pursues his tranquil life, 
Through many a lengthen’d year. 

Respect and kindness both are due, 
And to my next are paid; 

Its wisdom claims- the one from you, 
Its weakness needs your aid. 




1 








■—-^S 


AMERICAN GIRO’S BOOK. 

Remote from man, with ivy crown’d, 
On some sequester’d spot; 

>ly whole in ages past was found, 

But now we use it not. 

HERMIT-AGE. 


205 


3 ?. 

n a fit of the tooth-ache my first to obtain, 

Kou’d not grudge a trifle, for sad is that pain j 
If nothing you have, it might fairly be reckon’d 
A difficult task to discover my second. 

Would a man rove about from the line to the pole 
To seek a new home, if he were not my whole? 

REST-LESS. 

33. 

My first is an animal scorn’d and abused, 

And often in labour and drudgery used, 

My next’s like my first as one pea to another, 

Indeed he is related, if not his own brother. 

To make up the third I myself take my place ; 

And a rare motley crew for my fourth I will trace. 
Of soldiers and sailors, and coxcombs and sages, 
Both sexes, all trades, all conditions and ages. 

I leave to my readers to mention my whole, 

’Tis a crime causes horror to thrill through the soul. 

ASS-ASS-l-NATION. 












- 




204 


AMERICAN GIRLS BOOK 


34 . 


Arise with my first when a journey you go, 

Use my last if your horse is too sluggish and slow 
In the prettiest gardens my whole has a place, 
From its beautiful colours, its lightness and grace 

LARK-SPUR. 


35 .. 


The changing seasons, as they roll, 

„ Confess my powerful first’s control ; 
Nature’s unerring laws conspire 
To make my second call him sire : 

My whole’s but one of seven ; 

A time when humble Christians seek, 
With holy zeal and feelings meek, 
The path that leads to heaven. 


SUN-DAY. 


My first is nimble, my second innumerable and my whoie 


fatal 


QUICK-SAND 














205 


A DINNER. 

A country in the East. 

TURKEY. 

2. A long-necked bird omitting the last letter—and a smal 
fruit. 

CRANBERRY. 

3. One of the sons of Noah. 

HAM. 

4. What no sailor wishes to meet with—and an inhabitan. 
of the water. 

ROCK-FISH. 

5. A small fowl—and what all children like. 

A CHICKEN-PIE. 

6 . Half of a room under ground—a vowel—and a grain, 
omitting the last letter. 

celery. • 


7. A cooking utensil—the first letter of the alphabet—and 
part of the foot. 

POTATOE. 


- 










-— 




206 


AMERICAN GIRL’S BOOK. 


8. To strike, changing a letter. 

BEET. 

9. Half a word that signifies a tower—and to pinch off. 

TURNIP. 

10. To be on an equality—and to cut short. 

PARSNIP. 

11. A machine to raise water—and a relation. 

PUMPKIN. 


12. A fruit—the half of a pool of dirty water—and a circle, 
changing the first letter. 


PLUM-PUDDING. 

13. To chop fine—and the last half of a talking bird. 

MINCE PIE. 

14. Swimming—and a country surrounded by water. 

FLOATING ISLAND 


15. Half of a word signifying what is usual—and being late, 
umitting the last letter. 


CUSTARD. 


16. What naughty children frequently are—and the best part 
of milk. 

WHITT CREAM. 


17. A running plant, changing the first letter. 

WINE. 











- 



AMERICAN GIRL’S BOOK. 


207 


18. The first syllable of a Persian king—and the first sylla¬ 
ble of a town in England. 

CYDER. 

19. A harbour—and to mistake, omitting the last letter. 

PORTER. 

A TEA PARTY. 

20. A plant that grows only in China. 

TEA. 

21. Half of a receptacle for the dead—and a gratuity. 

COFFEE. 

22. Half of an Indian tribe—an interjection—and the reverse 
pf early. 

CHOCOLATE. 

23. The produce of a plant that grows only in warm climates. 

SUGAR. 

24. The oily part of a well-known liquid. 

CREAM. 

25. A fur covering for the hands—and the reverse of out. 

MUFFIN. 

26. To blow away, omitting the last letter—and the final 
h«flf of a frill. 

WAFFLE. 


- 











208 

AMERICAN GIRL'S BOOK. 

27. 

A confused mixture. 

JUMBLE. 

28 

A king’s wife—and a confection. 

QUEEN CAKE. 

29 

A familiar name for the squirrel. 

BUN. 

30. 

The national dish of the Italians, putting in one vowel 

and omitting another. 

MACCAROON. 

31. 

The reverse of sour—and w r hat few dinners are without. 

V SWEETMEATS. 

FRUIT. 

32. 

The sea-shore, changing the lirst letter. 

PEACH. 

33. 

A bank to confine water—and what every man must be. 

DAMSON. 

34. 

A colour—and a pledge. 

GREEN GAGE. 

35. 

A month, omitting the last letter—and a shepherd’s house 

APRICOT. 

36. 

An interjection—and to rove. 

ORANGE. 










AMERICAN GIRL’S BOOK. 



209 . 


37. Half of a Grecian island—and the reverse of off. 

LEMON. 

38. A tree that grows best in a sandy soil—and a well-known 
fruit. 

PINE-APrLE. 

39. Affected goodness—and to run away secretly. 

CANTELOPE. 

40. A domestic fowl—and a small fruit. 

GOOSEBERRY. 

41. A useless dog—and to bluster. 

CURRANT. 


FLOWERS. 


42. The first part of the day—and high honour. 

MORNING GLORY. 

43. The close of day—to be very formal—and the queen of 
flowers. 

EVENING PRIMROSE. 

44. The two first letters of a daj cf the week—and a pan of 
the face. 

TULIP. 


45. To start up suddenly—and a crust baked with something 
m it, omitting the last letter. 

POPPY. 





























jo 

to I 


• 

210 

AMERICAN GIRL’S BOOK. 



16. 

An evergreen—and a sort of German wine. 

1 



HOLLYHOCK. 



47. Half of a female Christian name—and a little instrumen- 
for securing your clothes. 



LUPIN. 



48. 

Every day, changing a letter. 

DAISY. 



49. 

Forcible or vehement, omitting a letter. 

VIOLET. 


• 

50. 

An open carriage—and a community of people. 

CARNATION. 



51. A Christian name, changing the last letter—and a 
that produces metals. 

JESSAMINE. 

place 


52. 

A lady well known in pantomimes. 

COLUMBINE. 

I 


53. 

A very common female name—and a metal. 

MARYGOLD. 




HERBS. 

$ 


54. 

A small coin—and whatever belongs to a king. 

PENNYROYAL. 



55. 

nation 

Half of a word signifying to bestow profusely -a 
—and the first syllable of a message. 

LAVENDER. 

term! 




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AMERICAN GIRL’S BOOK. 211 

56. A fragrant flower—and a woman’s name. 

ROSEMARY. 

57. A spice—ana the place in which money is coined. 

PEPPERMINT. 

58. To be wise. 

SAGE. 

59. The measure of duration, adding one letter, and chang. 
mg another. 

THYME. 

60. A season—and to taste agreeably. 

SUMMER SAVORY. 

61. To be pleasant—to spoil—and an old-fashioned word for 
a jug of liquor. 

SWEET MARJORAM. 


THE UNITED STATES. 

62. * A poetical term for the ocean—and a vowel. 

MAINE. 

63. The common word for fresh, or modern—and a county 
in the south of England. 

NEW-HAMPSHIRE. 

64. A word derived from the French, and signifying a Green 
Mountain. 

VERMONT. 



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212 


AMERICAN GIRL'S BOOK. 



65. A term much used by southern slaves—to make a choice 
—and three consonants. 

MASSACHUSETTS. 

66 . A Grecian island, omitting a letter—and a place sur 
rounded with water. 

RHODE-ISLAND. 


67. To join—myself—and to divide. 

CONNECTICUT. 


68 . Something recent—and an old city in the north of Eng 
land. 

NEW-YORK. 


69. Something fresh—and an English island on the coast of 
France. 


NEW-JERSEY. 


70. The name of a worthy and distinguished Quaker—and a 
word derived from the Latin, and signifying wood-land. 

PENNSYLVANIA. 

71. Two words that frequently precede French names—and 
a term for articles of merchandize. 

DELAWARE. 

72. The name of an English queen—and a country. 

MARYLAND. 

73. A maiden—and two vowels. 


VIRGINIA. 






jS+frr TPT- 



kJ 


AMERICAN G 1 R L’S BOOK. 


213 


74. A point of the compass—and a female name, 

NORTH-CAROLINA. 


75. Another point of the compass—and the same female name 


SOUTH-CAROLINA. 


76. A name that has belonged to four English kings, chang 
ing one letter, and adding another. 

GEORGIA. 

77. The name of many kings of France—a vowel—and a 
female name, omitting a letter. 


LOUISIANA 


78. The first syllable of a man’s name—the first letter of the 
alphabet—a sweet herb, omitting a letter—and a vowel. 


ALABAMA. 


79. A number—three fourths of a bird’s dwelling—and to look 


TENNESSEE 


80. A common Scotch word, signifying to know—to inclose 
—and the letter which is both a consonant and a vowel. 

KENTUCKY. 

81. An interjection—half a word, signifying lofty—and tha 
same interjection repeated. 

OHIO. 

82. A savage—and a vowel. 

INDIANA. 

83. To be sick—a vowel—and a sound omitting thr last lettei 

ILLINOIS. 











W: - 



214 


AMERICAN GIRL’S E 0 0 K. 


84. A young lady—part of a verb—to taste slightly—and half 
of a word signifying religious. 

MISSISSIPPI. 

85. A young lady—and a mahometan angel, omitting the 
first letter. 

MISSOURI. 

86 . A floating house—one of the articles in grammar—and 
the donkey’s name transposed. 

ARKANSAS. 

87. The first syllable of the name of an archangel—a perso* 
nal pronoun—and the first syllable of a domestic water- uird. 

MICHIGAN. 

AMERICAN RIVERS. 

88 . To be lively, changing the last letter—and the beginning 
of many Scottish names, adding a letter. 

MERRIMACK. 

89. An instrument of the greatest importance in making a 
book—the first syllable of a tall and pointed monument of stone 
—and a native of North Briton. 

PENOBSCOT. • 

90. Half of a word signifying to crowd together—and the 
first syllable of a small poem. 

HUDSON. 

91. The two first syllables of curiosity—and to turn a skin 
into leather. 

RARITAN. 


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AMERICAN GIRLS BOOK. 


215 


°2. The first syllable of uncertainty—three-fifths of a female 
sovereign—and an old-fashioned name for a woman, omitting 
.ne last letter. 

SUSQUEHANNA. 

93. Two syllables of the berry from which gin is made—the 
first syllable of a collection of maps—and a vowel. 

JUNIATA. 

94. The first syllable of a large troop of soldiers—and the 
common word for elevated or exalted. 

LEHIGH. 

95. The first syllable of a word that signifies but one syllable 
—a word meaning upon—to be lively, omitting the last letter— 
a pronoun—and the half of a genteel woman. 

MONONGAIIELA. 

96. The first syllable of a well-known nut—a vowel—and a 
sharp point, adding a vowel. 

CHESAPEAKE. 

97. The abbreviation of a common Irish name—beginning 
of many Welsh names—and to rebuke violently, omitting 
the two last letters. 

PATAPSCO. 

98. A river in Italy—coarse flax—and the first syllable of a 
small and delicious cake. 

potowmac. 

99. The dwelling of Noah during the flood—a very little 
word—and a carpenter’s tool. 

ARKANSAW. 













216 


AMERICAN GIRL’S BOOK. 


100 A speckled horse—and the monarch of forest-trees, trans¬ 
posing a consonant and changing a vowel. 

KOANOKE. 

101. An abbreviation of a man’s name—a common word, 
meaning large—and a useful insect. 

TOMBLGBEE. 

102 . 

A VERY GOOD REBUS. 

A word if you find, that will silence proclaim, 

Which spelt backward or forward will still be the same; 

And next you must search for a feminine name, 

That spelt backward or forward will still be the same; 

A title to houses to which you have claim, 

That spelt forward or backward is still found the same ; 

A fruit that is rare, whose botanical name, 

Spelt backward or forward, is ever the same; 

A note used in music, that time will proclaim, 

And backward or forward, alike is its name : 

The initials connected, a title will frame, 

Which is justly the due of the fair married dame, 

And wb ; -\ backward or forward, will still be the same 

MADAM. 

The words that furnish the'initial letters are , mum,—anna,- 
oeed,—anana ( the pine-apple), — and minim. 














217 




1. Why is a bonnet with a faded ribbon like a lamp burning 
dimly ? 

It wants new trimming. 

2. Why are great singers like cheese-curd ? 

They require hard pressing. 

3. Why is a lawyer like a poker ? 

He is often at the bar. 

4. Why is a book like a king? 

It has many pages. 

5. Why is being in prison like an ink-spot ? 

It is hard to get out. 

5. Why is going out at the front door in sleety weather, like 
learning to dance ? 

You must mind the steps. 

7. Why is a book like a tree ? 

It is full of leaves. 

8. What is often on the table, often cut, but never eaten ? 

A pack of cards. 

9. Why are friends, separating, for a short time, like * pan 
of scissors ? 

They part to meet again. /• 


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p^lrior-- 


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218 


AMERICAN GIRL’S BOOK. 



*0. Why is a looking-glass unlike a giddy girl ? 

The one reflects without speaking, the other 
speaks without reflecting. 

11. Why is a counterfeit note like a bar of iron ? 

It is forged. 

N. 12. Why is a proud woman like a music-book ? 

She is full of airs. 

13. Why is a man that squints, like a needle that cannot be 
threaded ? 

The eye is defective. 

14. Why is coffee like an axe with a dull edge ? 

It must be ground before it is used. 

15. Why is an expiring candle like a child preparing for a 
walk? 

It is going out. 

16. Why is a handsome book like an indented servant ? 

It is bound. 

17. Why is a slaughtered ox like an ell of cloth? 

It is divided into five quarters. 

18. Why is a pair of skates like an apple ? 

They have occasioned the fall of man. 

19. Why is a nobleman like a book ? 

He has a title. 

20. Why is a doctor’s prescription a good thing to feed pigs 
with? 

There are grains in it. 









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AMERICAN GIRL’S BOOK. 219 


21. 

W ny is a fool’s mouth like a tavern-door ? 

It is always open. 


22. 

Why is a silk hat like a counterfeit passion ? 

It is not felt. 


23. 

Why is a nail like a stage-horse ? 

It is hard driven. 


24. 

Why is the British navy like a printing-office ? 

It is supported by the press. 


25. 

Why is the letter P like Lisbon ? 

It is the capital of Portugal. 


26. 

Why is a hospital like a key ? . 

There are wards in it. 


27. 

Why is a madman like two men ? 

He is a man beside himself. 


28. 

Why are two giggling girls like chickens’ wings ? 

They have a merry-thought between them. 


SC 29 * 

Why is a button-hole like a cloudy sky ? 

It is overcast. 


30. 

Why is a woman, churning, like a caterpillar ? 

She makes the butter fly. 


31. 

Why is education like a tailor ? 



It forms our habits. 


Which is the oldest tree in America ? 
The elder tree 



















i!3£? inr '*— 



220 


AMERICAN GIRL'S BOOK. 


33. Wny, when you go to bed, is your slipper like an unsuc 
:essful dun ? 

It is put off till next day. 

34. Why is a segar-smoker like an author ? 

He is fond of a puff. 

35. Why is a judge like a person reading aloud ? 

He pronounces sentences. 

36. Why is a fool like a very large cask ? 

He is a butt. 

37. Why is a new book like a man that has got thro’ a crowd ? 

It is just out of the press. 

38. What trade is the name of one of the best English au 
thors ? 

Goldsmith. 

39. Why is a fan like a peace-maker ? 

It allays heat. 

40. Why is a reverse of fortune like cleaning fish ? 

The scales are turned. 

41. Why is an architect like a great actor? 

He draws houses. 

42. Why is a gun like a jury ? 

It is charged* and discharged. 

43. Why is a bushel like a well-digested plan ? 

It is a solid measure. 

44. What trade never turns to the left ? 

Wheelwright. 


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AMERICAN GIRL’S BOOK. 


221 


45. Why is an inferior fur hat like a severe rebuke ? 


It is felt. 


46. Why is a hypocrite like an artist engaged in an origina. 
irawing ? 


He is designing. 


47. Why is a drawn tooth like something forgotten? 


It is out of your head. 

48. Why is a bad epigram like a dull needle ? 
It has no point. 


49. Why is an egg over-done, like one under-done 1 


Both are hardly done. 

50. Why are handsome women like muffins ? 

They are often toasted. * 

51. Whether were knees or elbows made first ? 

Knees; because beasts were formed before man 


52. Why is a school-boy just beginning to read, like knowl¬ 
edge itself ? 


He is learning. 


53. What is that which increases the effect by diminishing 
he cause ? 


A pair of snuffers. 


54. What is that which, though invisible, is always in sight ? 

The letter I. 

55. Why is the letter D like a sailor ? 

It follows the C— (sea.) 

>6. What does a stone become when thrown into the uateri 
A wet stone—( whetstone .) 










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222 


AMERICAN GIRL’S BOOK. 


51. Why is opening a letter like a strange way of getting 
into a room ? 

It is breaking through the sealing—( ceiling.) 

58. Why is a cross old bachelor like a poem on marriage ? 

He is averse to matrimony—( a verse.) 

59. Why were Algiers and Malta as opposite as light and 
darkness ? 

One was governed by deys, the other by knights, 
(days — nights.) 

60. If you throw up a ripe pumpkin, what will it come 
down ? 

A squash. 

61. Why is a traveller sailing up the Tigris, like a man go¬ 
ing to put his father into a sack ? 

He is going to Bagdad— (Bag dad.) 

G2. Why is a side-saddle like a four-quart measure ? 

It will hold a gallon— (gal, meaning girl.) 

63. Why is a pastry-cook like an apothecary ? 

He sells pies and things— (poison things.) 

64. Why is a coiner of bad money like a line in Othello ? 

Who steals his purse, steals trash. 

65. Why is a pig with his tail curled, like the ghost in 
Hamlet ? 

He could a tale unfold— (tail.) 

66. Why is a man marrying a coquette, like a passage is 
the Midsummer Night’s Dream. 

“ -He gives to airy nothing 

A local habitation and a name.” 













AMERICAN GIRL’S BOOK. 


223 


67 What was yesterday, and will be to-morrow? 

To-day. 

68. Jn wnich side of the church does the yew-tree grow ? 

On the outside. 

69. Wha: is that which we often see made, but never see 
after it is dene ? 

A bow. 

70. Why is a poet like a toy ? 

He is devoted to a muse and delights in fancy— 
(amuse — infancy .) 

71. How can a person live eight years and see but two birth¬ 
days ? 

By being born in Leap Year, on the 29th of February. 

72. Why is taking care of children like wearing spectacles ? 

You must keep them before your eyes. 

X 73. It the alphabet were invited to a party, which of them 
would come after tea ?—( T.) 

U, V, W, X, Y, andZ. 

”4. What makes more noise than a pig under a ga*e ? 

Two pigs under a gate. 

75. Why is a nail, driven tight into a wall, like a weak old 
man ? 

It is in firm— {infirm.) 

76. Why is a convict, just gone to Botany Bay, like one just 
returned from it? 

He is transported. 






r 


224 


AMERICAN GIRL’S POOR 



77. What is majesty when divested of its externals ? 

A jest. 

78. Why is a prison like a pack of cards ? 

There are knaves in it. 

79. Why is an old man like a window ? 

He is full of pains— {panes.) 

80. Why is the letter S like dinner ? 

It comes before T—( tea.) 

81. Why is an andiron like a yard-stick ? 

It has three feet. 

82. What is the difference between a good governess and a 
bad one ? 

A good one guides miss, and a bad one mis guides. 

83. What is the difference between twice five and twenty 
and twice twenty-five ? 

Twenty. 

84. Why is a man of an inconstant disposition like a loch 
and key that fit exactly ? 

He is easily turned. 

85. Why is a man suspended in the letter D, what all .me* 
wish to be ? 

He is in-D-pendant— {independent.) 

86. Why do white sheep produce more wool than black ones! 

There are more of them. 

87. Why does a miller wear a white hat ? 

To keep his head warm. 


TT'ir'r 


















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AMERICAN GIRL'S BOOK’. 225 

88. How many hoops does a good barrel wait ? 

No hoops. 

89. Where was Washington when he blew out the candle ? 

In the dark. 

+ 

90. Why do you go to bed ? 

Because the bed will not come to you. 

91. Why do we look over a stone wall ? 

We cannot look through it. 

92. Which has most legs, a horse or no horse ? 

No horse has five legs. 

93. What is most like a cat looking out of a window ? 

A cat looking in at a window. 

94. Which is the left side of a plum-pudding ? 

That which is not eaten. 

95. What sect will a man belong to if he wears thin clothe* 
in winter ? 

The Shakers. 

96. On what tree can you ride from Philadelphia to Pitts 
burgh ? 

The axle-tree. 

97. In what place did the cock crow when every body in thi 
yorld heard him ? 

In Noah’s ark. 

98 Why is a jew like the toll-man at a bridge 1 
He keeps the pass-over. 


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226 


AMERICAN GIRL S BOOK. 



99. What word is there of five letters that, by taking away 
two, /eaves one ? 

Stone. 


100. What does a man first fall against when he falls out of 
\ ihree-story window ? 

Against his will. 

101. What is that which is lengthened by being cut at both ends ? 

A ditch. 


102. Why is a schoolmaster whipping a boy for telling a 
falsehood, like the god Apollo ? 

He strikes the liar— (lyre.) 

103. Why is Congress like a Theatre ? 

It is a house of Representatives. 

104. What is that word containing eight letters of which five 
are the same ? 

Oroonoko. 

105. What is that which no one wishes to have, and no one 
wishes to lose ? 

A bald head. 

106. Why is a bad clergyman like a finger-post ? 

He points the way he never treads. 

I 

107. Why is a coachman like the clouds? 

He holds the reins— (rains.) 

108. Why is Athens like a candle-wick ? * 

It is in the midst of Greece— (grease.) 

109. Where did Noah strike the first nail in the ark ? 

On the head. 





AMERICAN GIRL’S BOOK. 


227 


110. Why is a drop of blood like a Waverley novel ? 

It is always red—( read .) 

111. Whi i three American coins will make a dollar? 

Half a dollar and two quarters. 

112. If you were up stairs when the house was on fire, and 
he stair s were away, how would you get down them ? 

If the stairs were not a way, you could not get 
down them. 

113. What is that which Bonaparte never saw, but which a 
common man sees every day ? * 

His equal. 

114. If a bird was sitting on a peach in the orchard, and you 
wanted that peach, how would you procure it without disturbing 
the bird ? 

By waiting till the bird had flown. 

115. If you see three pigeons on a roost, and shoot two, how 
many will remain ? 

None—as the third will fly away. 

Il(>. What word is that which contains all the vowels, and 
all in their proper order ? 

Facetiously. 

117. Why is taking snuff like a ragged riding dress? 

It is a bad habit. 

118. Why is a hat too large for your head, like an old house 
s n an earthquake ? 

Tt will fall about your ears. 











AMERICAN 


girl’s book. 



119. Why is a cushion stuffed with mess, like a bottle of all 
eft uncorked i 


It soon becomes flat. 

120. Why are corsets like Opposition Lines in travelling ? 

They reduce the fare— (fair.) 

121. Why is a family of ugly daughters like guns with bad 
locks ? 

They do not go off well. 

122. Why is a lady quitting the arm of an artist hke a boat 
pushing off from the side of a sjiip ? 

She lets go the painter. 

123. Why is a new married man like a steam-boat ? 

The baggage is at the risk of the owner. 


124. Why is a smelling-bottle left uncorked like a bound 
when he comes to a river ? 

It loses the scent. 


125. Why is a liquor merchant like a man of perpetual 
vivacity ? 

He is never out of spirits. 

126. Why is a consistent man like a military coat ? 

He is uniform. 

127. When is a dog's tail not a dog’s tail ? 

When it is a waggon— (nagging.) 

128. What is that which unites two, and only touches one 

Tne wedding ring. 



129. What people can never lie down long, nor wear a great 
coat ? 




Dwarfs. 












130. 

Why 

131. 

Why 

132. 

coat ? 

Why 

133. 

Why 

134. 

Why 

135. 

Why 


AMERICAN GIRL’S BOOR. 229 

ire teeth like verbs ? 

They are regular and irregular, 
s a well-trained horse like a benevolent man ? 

He stops at the sound of wo. 


It has two capes. 

s sin like a picture frame ? 

It is guilt— (gilt.) 

s a married man like a student of medicine ? 

He must listen to lectures, 
s a poet addressing an ode to a young swan, like 
a Scotch Lawyer ? 

He is writer to the signet— (cygnet.) 

136. What name o£ an English poet reminds you of the 
pleurisy ? 

Akenside. 

137. Why are a fisherman and a shepherd like beggars ? 

They live by hook and by crook. 

138. What wine is mock agony ? 

Champagne— (sham-pain.) 

139. What check to ambition is there in the meaning of a 
church weathercock ? 

It is vane to a spire— (vain to aspire.) 

140. Why is a very angry man like a clock at fifty-nine 
minutes past twelve ? 

He is ready to strike one. 



— 









AMERICAN GIRL’S BOOK. 

141. What is higher and handsomer when the head is off? 

A pillow. 

142. If a pair of spectacles could speak to the eyes, the name 
pf what Greek author would they utter ? 

Eusebius —(you see by us.) 

143. Why is a thread-bare coat like a person too soon awa 
kened ? 

Both have lost their nap. 

144 There has been but one king crowned in England since 
the Norman conquest. What king was he ? 

James the First. He was king of Scotland be¬ 
fore he was king of England. 

145. Two letters of the Alphabet are such good friends, that 
one never stirs from home without having the other to follow 
it. What are those two letters ? 

Q and U. Nothing can be spelt with Q only, 
unless it is followed by U. 

146. Why is a schoolmaster like the letter C ? 

He forms lasses into classes. 


147. 
alive ? 


148. 

149. 


What difference is there between live fish and fish 

There is a difference. (Because there is a in 
fish alive, and not in live fish.) 

Why is Philadelphia like a chequer board ? 

It is laid out in squares. 

Why is a nobleman’s seal like a soldier ? 

It bears arms. 

















AMERICAN GIRL’S BOOK. 


231 



150. What is smaller than a mite’s mouth ? 

What goes into a mite’s mouth. 

151. Why is the letter G like the sun ? 

It is the centre of light. 

152. What question is that which can only be answered by 
ihe word “yes?” 

What does Y,E,S, spell ? 

153. What belongs to yourself, yet is used by every body 
more than yourself? 

Your name. 

154. Why is a musician like a jailor ? 

He fingers the keys. 

155. When does a barber treat certain letters of the alphabet 
with severity ? 

When he ties up queues ( Q’s,) and puts toupees 
(two P’s) in irons. 

156. Why is a beggar like a baker ? 

They both need bread— (knead.) 

157. What is that which every living man has seen, but 
never more will see again ? 

Yesterday. 

158. Why is a fender like Westminster Abbey ? 


It contains the ashes of the grate— (great.) 



io9. Why is a peach-stone like a regiment ? 

It has always a kernal— (colonel.) 














232 AMERICAN GIRL'S BOOK. 

160. Why is an amiable and charming girl like one letter in 
deep thought; another on its way towards you ; another bear¬ 
ing a torch ; and another singing psalms ? 

A-musing, B-coming, D-lighting, N-chanting. 

161. What is that which is disgusting to all but those who 
swallow it ? 

Flattery. 

162. What burns to keep a secret ? 

Sealing-wax. 

163. Why is the king of England like a vane on a steeple ? 

He is the head of the church. 


164. Why are the teeth of an old woman like the visits of 
persons who dislike each other ? 

They are few and far between. 

165. Why is a gardener selling sweet herbs like a man read¬ 
ing instructive books ? 

He makes a profitable use of his. thyme— (time.) 

166. There is a sort of snuff which, the more you take of it, 
the fuller the box will be. What snuff is it ? 

Candle-snuff. « 


167. What is that which occurs once in a minute, twice in a 
moment, and not once in a thousand years ? 

The letter M. 


168. Why is an active waiter like a race-horse ? 
He runs for the plate. 



















AMERICAN GIRLS BOOK. 

169. Why is a drunken man like a windmill ? 

His head turns round. 

170. Why is a student of theology like a merchant 1 

He studies the prophets— (profits.) 

171. Why is the soul a trifle ? 

It is immaterial. 

172. Why is a traveller landing from a steamboat at mid 
night like an Englishman at a French tavern ? 

He can get no porter. 

173. Why is a hat like a king ? 

It has a crown. 

174. Why is a man who has nothing to boast of but his an* 
cestors, like a potato ? 

The best thing belonging to him is under ground. 

175. Why are dancers like mushrooms ? 

They spring up at night. 

176. Why is a disgi*aced minister like a melted guinea? 

He has lost the king’s countenance. 

177. Why is a deceived woman like a little girl in leading 
strings ? 

She is miss-led—( mislid.) 

178. Why are the poker, tongs and shovel like titles of 
nobility ? 

They belong to the grate— (great.) 

179. What makes shoes ? 

Straps; as, without them, shoes would be slippers 



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234 


AMERICAN GIRL’S EOOK. 


180. If a little thin man were to drpss himself in a tall fa* 
man’s clothes, what two cities of France would he resemble ? 

Toulon and Toulouse —(too long and too loose.) 


181. What is that which is the centre of joy, and principa* 
mover of sorrow ? 

The letter 0. 


182 Why is the letter K like meal ? 

You cannot make cake without it. 


183. Why is a drunkard like a man beating his wife ? 
He is given to liquor —(lick her.) 


184. Why is a dancing master like a tree ? 

He is full of bows— (boughs.) 

185. How can great . K, little K, and K in a merry mood, 
make two islands and a continent ? 

They are Majorca, Minorca, and America. 


186. Why is a bad piano-player like a bustling housekeeper ? 
She rattles the keys. 


187. Why is Gibraltar like a dose of medicine ? 
It is hard to take. 


188. Why was the celebrated Mrs. Montague like a first 
rate watch ?* 

She was always capp’d and jewell’d. 


•This distinguished old lady was never seen without her diamonds. 


fg^inr-ir- 


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AMERICAN GIRL’S BOOK. 235 

189. Why is death like the letter E ? 

It is the end of life. 

190. Why is a lawyer like an honest man ? 

He is a man of deeds as well as words. 

191. Why is a woman of no attractions like a plain quaker 
sonnet ? 

She is always without a beau— (bow.) 

192. Why are apothecaries’ shops like the gates of death 1 

They are always open. 

193. Why are clergymen like cobblers ? 

They seek the good of souls— (soles.) 

194. In what does a tailor resemble a woodcock ? 

In the length of his bilj. 

195. From whence proceeds the eloquence of an American 
lawyer ? 

From his mouth. 

196. Why are geese like Opera dancers ? 

No other animals can stand so long on one leg. 

197. What are the things that the more you add to them the 
fewer there will be in a pound ? 

Candles. 

198. If I kiss you and you kiss me, what sort of riddle do 
wo make ? 

A rebus— (re-buss.) 











1 


236 

AMERICAN GIRL’S BOOK. 

199. 

Why ought ladies to be prevented from learning French 

One tongue is sufficient for a woman. 

200. 

Why is the letter P like uncle’s fat wife going up a hill 1 

It makes ant pant— (aunt.) 

201. What servant is it, that sits with his hat on before his 
master ? 

The coachman. 

202. 

Why is a farmer surprised at the letter G ? 

It will convert oats into goats. 

203. 

teenth 

Where did Lafayette go when he went out of his four- 
year? 

Into his fifteenth. 

204. 

Whose best works are most trampled on ? 

A shoe-maker’s ; because good shoes last longer 
than bad ones. 1 

205. 

When is a man over head and ears in debt ? 

When he has not paid for his wig. 

206. 

Why is Ireland likely to grow rich ? 

It’s capital is always Dublin — (doubling.) 

207. 

drum, 

What is it that every one thinks of in telling a conun 
and every one thinks of in hearing it ? 

The answer. 

-?---— 


——^s! 












































































































































































7 to 


AMERICAN GIRL’S BOOK. 


239 


PINCUSHIONS. 



A BRICK PINCUSHION. 

These pincushions are extremely useful when it is 
necessary to pin down your work to keep it steady ; 
for instance, in quilling ruffles, covering cord, sewing 
long seams, hemming or tucking. Being so heavy 
that they can only be lifted with both hands, they sit 
firmly on the table, and cannot be overset by acci¬ 
dent. Screw pincushions, it is true, answer the same 
purpose ; but it is-difficult to fasten them to a circular 





































240 


AMERICAN GIRL’S BOOK. 


table, or any table that has not a very projecting edge ; 
and the screws frequently wear so smooth as to become 
useless. A brick pincushion, when once made, will 
last to an indefinite period (occasionally renewing the 
cover), and can be used on any table, in a window 
ledge, or even on a chair or stool. In a chamber, 
they can be employed on the toilet like any other 
pincushion. 

Get a clean new brick of a perfect shape, and cut out 
a piece of coarse linen or strong domestic cotton, of 
sufficient size to cover it ; allowing enough to turn 
in. Lay the brick in the middle of the linen, which 
must then be folded in at the corners and sewed tightly 
with coarse thread all oyer the brick ; making the cov¬ 
ering as smooth and even as possible. Then cut out 
a bag of coarse linen, and fit it to the top of the brick, 
allowing it, however, about two inches larger each 
way ; or more, if you intend it to rise very high in the 
middle. Stuff the bag with bran, till you get it as* firm 
and hard as possible. It will require at least two 
quarts of bran, perhaps more. While doing this, you 
had better have the whole apparatus on a large waiter 
to catch what falls. Put in the bran with a spoon, and 
cress it down hard with your fingers. When the bag 











AMERICAN GIRL’S BOOR. 241 

is completely stuffed, and cannot possibly hold any 
more, sew up the open end. Fit the bag evenly all 
round to the top of the brick, and sew it fast to the linen 
cover; taking care to have it of a good shape, sloping 
down gradually on all sides from the middle. 

Sew a piece of thick baize cloth to the linen on the 
bottom of the brick, and then put on the last cover of 
the whole pincushion. This outside cover may be of 
velvet, silk, or cloth. Fold it under at the corners very 
neatly, and sew it all round to meet the baize at the 
bottom. Then cover the seam with a binding of narrow 
ribbon or galloon. If you choose, you can make the 
cover for the top (or stuffed part of the pincushion) of a 
separate piece of silk, always taking care to cover the 
seam with a binding. 

A small pincushion may be made in the same man 
ner, only using for the foundation a little flat block of 
wood, instead of a brick. 











— 


242 


AMERICAN GIRL’S BOOK. 



FLANNEL PINCUSHIONS. 

Take very long slips of old flannel, cut quite straight 
and even. For a flat pincushion, the flannel must be 
little more than an inch broad ; for a tall one, four 
inches. Roll up the flannel as tightly as possible (as 
they roll galloon in the shops), and sew down the last 
end so as to secure it. Measure as much ribbon or,silk 
as will go round the flannel, and sew it on. Then cut 
out circular pieces of silk, and sew them on to cover the 
top and bottom of the pincushion. These pincushion? 
are more easily made than any others, and are very 
convenient to keep in your work-basket or reticule. 


i S&p r *'*" - 




SfeJWOAQ 

























fg^nor-- 




AMERICAN GIRL’S BOOK. 243 



A HEART PINCUSHION. 

Cut two pieces of linen into the shape of a half-hand¬ 
kerchief. Sew them together, leaving a small open 
space at the top, and stuff them very hard with bran or 
wool. When sufficiently stuffed, sew up the opening 
and cover the pincushion with silk, sewed very neatly 
over the edge. Then make the two upper corners 
meet, and fasten them well together. This will bring 
the pincushion into the shape of a heart. Put a string 
to the top. Emery bags are frequently made in this 
manner. Pincushions should always be stuffed with 
bran, wool, or flannel. Cotton .will not do. 


-* 









13 ^-—— 




244 


AMERICAN GIRLS BOOK. 



A PINCUSHION IN GORES. 

Take some thick new silk, and cut out twelve or four¬ 
teen pieces in the shape of gores or long triangles. Half 
of these are for the upper and half for the under side of 
the pincushion. Sew them all together on the wrong 
side, and then sew the top to the bottom, leaving an 
opening for the stuffing. Stuff it hard with bran. Then 
sew up the opening. The points of the gores must all 
meet in the centre, the broad ends going to the outward 
edge, on which, at the end of every seam, you must put 
a little tassel or bow, and also one in the centre. The 
tassel may be made of tufts of ravelled silk. These 
pincushions are generally for the toilet, and are made 
large 
















A CORDED PINCUSHION. 

Cat out two round pieces of linen. Sew them to¬ 
gether, and stuff them with bran, so as to form a round 
ball. Begin on the very centre of each side, and with a 
large needle lay coarse thread or cotton all across down 
to the middle of the pincushion where the binding is to 
come. These threads must spread out from the centre 
in every direction like rays; the space between them 
widening of course as it descends. Make them very 
even, and do not allow them to be loose or slack. Then 
take a needle threaded with sewing silk or fine crewel, 
and, beginning at the centre from which all the coarse 























—'*-*-*§$£* 


246 


AMERICAN GIRLS BOOK. 


cotton threads diverge, (they may be called cords,) 
work the pincushion all round by passing the needle 
twice under each cord, taking the stitches very close, 
even, and regular, and completely covering with the 
sewing silk both the cords and the space between them. 
The stitches, of course, become gradually longer as you 
go down towards the seam that divides the two sides of 
the pincushion. Supposing that you begin with pink 
silk, you may, after a few rounds, take another colour, 
for instance green, then yellow, then blue, and then 
brown. In this manner your pincushion will be hand¬ 
somely striped, and the cords will give it a very pretty 
appearance, if evenly laid and well-covered. When 
both sides are finished, cover the seam with a binding 
of dark-coloured ribbon, and put on a string and bow of 
the same. Always begin and fasten ofF in a pbice that 
is afterwards to be worked over. 













This pincushion is made of a piece of coarse linen, 
about half a quarter square, cut into two triangular or 
three-cornered halves, stuffed with bran and covered with 
scarlet cloth ; which cover must be sewed neatly on the 
wrong side, and then turned. The top or broad part 
must be gathered so as to meet all round, and concealed 
by sewung on a small round piece of green velvet, scol¬ 
loped in imitation of the cap of green leaves that sur¬ 
round the stem w r here it joins the strawberry. The 
stem must be imitated by sewing on a small green silk 
cord. To represent the seeds, the strawberry must be 
dotted over with small stitches, made at regular dis- 







248 AMERICAN GIRL’S BOOK. 

tances with a needle-full of yellow silk, and close to earl 
yellow stitch must be a stitch of black. 

Emery bags are often made in this manner, but of 
course much smaller ; not exceeding the size of a large 
real strawberry. 



A BASKET PINCUSHION. 



Get a very small round basket, with or without a 
handle. It must be closely woven, so that nothing can 
be seen through its sides. Make, of coarse linen, stufted 
with wool or bran, a round pincushion exactly to fit the 
basket. Cover the top of it with velvet or silk, and puf 
it into the basket, sewing it firmly to the inside of the 
rim. This is for a toilet-table. 




—'*-*-*%&&* 
























A BUNCH OF HEARTS. 

Cut out ten or twelve small hearts of double paste* 
board ; that is, two pieces of pasteboard for each heart. 
Cover them with different shades of red silk, crimson, 
scarlet, and pink, sewing them very neatly at the edges. 
Sew a string of narrow ribbon to the top of each, and 
tie the ends of all the strings together. Stick pins round 
the edge of each pincushion where the two sides unite. 
These bunches of hearts look very pretty when hung on 
u toilet-glass. 







ig^nor- 



A BUNCH OF ROOTS. 


This is a toilet pincushion. Cut out of coarse linen 
or muslin, eight or ten pincushions of the shape that is 
called a right-angled triangle, or a half handkerchief; 
stuff them with wool or bran and then sew up the ends. 
Cover them with silk. Fasten them all together at the 
top by the upper point or corner of each, and pot a large 
bow of ribbon at the centre where they meet. 

When stood on the table, these pincushions will 
spread out all round, resting on their broad parts 













,VrJ 


- 


AMERICAN GIRL’S BOOK. 




A STAR PINCUSHION. 

Cut out two stars of paste-board. Cover them with 
yellow silk, or any other colour that is convenient. 
Sew them neatly together over the edge, and round the 
edge stick small pins. Some of the pins must be insert¬ 
ed deeper or farther down than others, so as to resemble 
rays issuing from each point of the star. The pincush¬ 
ions are to hang up beside a toilet*glass, and are more 























252 


AMERICAN GIRL’S BOOK. 



for ornament than use ; as taking out or disturbing the 
pins, of course, destroys the symmetry with which thev 
are arranged. However, they are easily made, and to 
stick the pins in proper order may afford a few minutes 
of amusing occupation to a little girl. They also look 
very pretty. 





A MELON-SEED PINCUSHION. 



Make a flat circular pincushion in the manner of those 
stuffed with flannel, and cover it with silk. Have ready 
a sufficient quantity of musk-melon seeds, clean and 










- 


AMERICAN GIRLS BOOK. 


‘J53 


dry. With a strong needle pierce a hole through the 
broad end of every one. String them on threads, or on 
needle-fulls of bufl-coloured silk of various lengths. 
Begin at the centre of the pincushion, and sew on the 
strings of melon-seeds; every row or circle fitting in 
neatly between the seeds of the preceding one. The 
circle or strings of course increase in circumference as 
you approach the outer edge of the pincushion. Do both 
sides in the same manner. The last row of seeds that 
finishes the outer edge must be strung on a fine wire ; 
and in the finishing row insert between each seed two 
little glass beads of the very smallest size, and of the 
same colour as the silk of the pincushion ; blue or pink, 
for instance. The outer row, that is, the one that is 
stiffened with wire, must project a little beyond the edge 
of the pincushion. 

The pins are stuck in the binding that is inserted 
between the two sides. Fasten to it a long string of 
ribbon. 


•— 


-- 


TTV 











sP^^rr'*-'-- 


--*-*-*§♦& 


*54 


AMERICAN GIRL’S BOOK. 



A BOOT PINCUSHION 

Cut two pieces of paste-board into the shape of a boot, 
in length about equal to that of a grown person’s middle 
finger, or larger if you choose. Cover them with black 
silk. Put between them several pieces of flannel, cut 
into the same shape. Unite the two sides of the boot, 
by inserting, between the edges of each, a binding of 
black galloon. 

When this is done, cover the top or upper part of the 
boot, on both sides, with a bit of thick buff coloured 


\ 3 & nrr ' - 
















—— 





AMERICAN GIRL S BOOK. 


255 


ribbon, about an inch or an inch and a half broad, to look 
like the light leather tops on real boots. Then sew on, at 
each side of the top, a loop of buff-coloured galloon, to 
resemble the straps by which boots are drawn on. 

The pins are to be stuck in the galloon-binding that 
unites the two sides of the boot. 



A SWAN PINCUSHION. 


Get two swans handsomely drawn on Bristol-board or 
tine white paste-board. They must be exactly alike, 
and represented as swimming, so that the lower part 
















256 


AMERICAN GIRL'S BOOK. 






i 


may De flat, -which will enable the pincushion when 
finished to stand upright. Cut them neatly out of the 
paste-board. Make a thin flat pincushion the shape of 
the swan, growing thinner and flatter as it approaches 
the neck. This pincushion must be made of white silk, 
filled with a little wool or with pieces of flannel cut into 
the same shape, and united at the two edges with the 
very narrow white ribbon commonly called taste. There 
need be no head to it, as the heads of the two painted 
swans will come together at the top. 

Then sew very neatly, and witn &s few stitches as 
possible, a swan to each side of the pincushion, uniting 
them gradually at the neck and head. 






i 





i 


4 











AMERICAN GIRL’S BOOK. 




A WOMAN PINCUSHION. 


Get a small doll’s head and arms, of the material 
called composition. Make a body and upper parts for 




i B rer irr '—• 


















258 


AMERICAN GIRL’S BOOK. 


the arms of kid stuffed with bran. Then fasten the 
head and arms to the body. 

Make a coarse linen pincushion, something in the 
shape of a bee-hive, and stuff it very hard with bran. 
The bottom or lower extremity must be flat, and covered 
with thick paste-board that it may stand firmly. Then 
cover the whole pincushion with velvet or silk, and dress 
the doll with body and sleeves of the same, or of white 
satin. The pincushion represents the skirt, and you 
must sew it firmly to the body, concealing the join by a 
sash or belt. You may put a handsome trimming on 
the skirt. 

Make a hat or bonnet for the doll’s head, and dress 
her neck with a scarf or handkerchief. 

The pins are to be stuck into the pincushion or skirt 
at regular distances in little clusters or diamonds, or 
four together, so as to look like spangles. 

This pincushion is for a toilet-table. 




















A GUITAR TINCUSHION. 

Take two pieces of thick paste-board, and cut them 
into the shape of a guitar. Cover them with brown or 
buff silk. Having put a flannel between, sew them to¬ 
gether at the edge. Represent the strings by gold 
thread, or yeliow sewing-silk. At the place where the 
strings terminate, work a little upright ridge in button¬ 
hole stitch or overcast. Fasten a narrow ribbon with a 
small bow to the top of the handle. 

Stick the pins-round the edge of the guitar. 












260 



AMERICAN GIRL’S BOOK. 


NEEDLE BOOKS. 



A BELLOWS NEEDLE-BOOK 

Cut two pieces of thick paste-board into the shape of 
a pair of bellows and cover them with silk. Or you 
may have four pieces of covered paste-board in the bel 
lows shape, uniting two of each by a narrow ribbon sew 









AMERICAN GIRL’S BOOK, 


ed all round between, to a stuffing of wool. This makes 
the sides of the bellows thicker and handsomer, but is 
more difficult to do, or rather more tedious. Get tw r o 
pieces of cloth ; cut them nearly as large as the bellows, 
and overcast their edges. These are the flaps for 
needles. Sew them to one of the halves of the bellows 
on the inside. Then sew the two sides of the bellows 
together by a few tight stitches at the bottom or nar¬ 
rowest part, leaving a small open space for the insertion 
of the bodkin, which forms the nose or spout of the bel¬ 
lows. To secure the bodkin more firmly, make a little 
loop of sewing silk on the inside of the bellows about an 
inch from the bottom, and slip the bodkin under the 
loop and through the aperture below. 

Sew strings of narrow ribbon to the handle of the 
bellows, and tie them tightly over it, when the needle- 
book is not in use. Stick pins along the edge which 
forms the pincushion part. 











' —- 


- 


262 


AMERICAN GIRL’S BOOX. 



A THISTLE NEEDLE-BOOK. 

Take some thick wire, and wrap it round closely with 
green sewing silk, or narrow green hank ribbon. Then 









"Ut large leaves of green cloth, and stiffen them with 
wire sewed on the under side. Sew the leaves to the 
stalk. These leaves are to stick the needles in. 

Make a ball of linen stuffed with emery, and cover it 
with green velvet, worked or crossed with yellow sew¬ 
ing-silk in the form of diamonds. This ball may be 
about the size of a hazel-nut. 

Cut a piece of paste-board into the shape of a funnel; 
the bottom exactly fitting the emery-ball, but the upper 
part spreading out wide. Have also a flat circular 
piece of paste-board, cut out to lay on the top of this. 
Cover both these things with lilac silk, and sew the flat 
top to the funnel-shaped piece. This, when sewed to 
the emery-ball, forms the thistle flower, which must, 
when finished, be fastened to the stalk. 

Stick pins round the seam at the upper edge of the 
flower. 

This little contrivance answers the purpose of needle- 
book, emery bag, and pincushion, and is to be kept in a 
work-box. 









264 


AMERICAN GIRLS BOOK. 



A NEEDLE-BOOK WORK-BAG. 

Make a needle-book precisely as described in the next 
article. Then take a quarter and a half quarter of-silk, 
and cut it in half, as if to make a square reticule. Sew 
the two sides together, inserting a covered cord between 
them. Do not sew the sides all the way down, but ter* 
tninate the seams at some distance from the bottom, so 
as to leave two open flaps large enough to conceal the 


:[j^§ Tnr ' 1r "- 












— 



> 


AMERICAN GIRL’S ROOK. 


threacl-case. Then stitch a seam all across, just above 
the flaps, so as to form a sort of false bottom to the bag. 
To this seam sew the back of the thread-case, in such a 
manner that the flaps of the bag will fall over and con¬ 
ceal it. Sew five pair of ribbon strings on these flaps, 
so as to tie them down over the needle-book. 

♦ 

Get two yards of narrow ribbon ; cut it in half, and 
run it into the broad hem or case at the top of the bag. 
Run each ribbon all round the case, the ends coming 
out at opposite sides to make the bag draw both ways. 
Tie these ends together in bows. 

These bags are very convenient in travelling, or when 
you take your work with you on a visit. 

To cover cord—take some new silk and cut it into 
long narrow slips, diagonally, or bias as it is commonly 
called. Sew all these slips together by the ends that 
slope the same way. Then take some cotton cord, and, 
laying the silk evenly over it, baste or tack it along, sr 
as to inclose the cord. In afterwards sewing this to the 
straight side of a piece of silk, hold the silk next to you 
and let your stitches be very short. 


I 


—— 













2b6 


A VERY CONVENIENT NEEDLE-BOOK. 


Have ready four pieces of paste-board about the size 
of playing-cards, or broader if you choose. Cover them 
on both sides, with silk sewed neatly over the edges. 
Get some ribbon of the same colour, and about an inch 
broad. Sew it between two of the covered cards, so as 
to unite them all round, leaving only an opening at one 
end to put in the stuffing. Stuff it very tightly with 









- 


— 



AMERICAN GIRL’S BOOK. 


‘267 


wool or bran, which must be pressed down with your 
fingers as hard as possible, and then sew up the opening. 
This makes a pincushion which will look like a closed 
book, and the pins are to be stuck into its edges. Then 
get a piece of cloth nearly twice as large as the pincush¬ 
ion, and overcast the edges with silk. Fold it in half, 
and, at the edge where it is folded, run two or three 
cases or sockets for bodkins, which must be prevented 
from slipping down too far by a few stitches across that 
part of the socket to which the point of the bodkin de¬ 
scends. The eyes of the bodkins must be left sticking 
out at the tops of the cases. 

Take the two remaining cards that are covered with 
silk, and measure two pieces of silk twice the size of the 
cards. These are for the pockets. Having made a case 
in the top of each pocket, and run a narrow ribbon into 
it, gather them all round, and sew them on full to the 
outsides of these two last covered cards, which must 
‘hen be sewed one to each side of the pincushion, having 
first inserted the needle-flaps. They must be put on so 
as to resemble the covers of a book, with the back of the 
pincushion between them like the back of a book. Sew 
strings of ribbon at the two lower corners. At the two 
upper corners, the ends of the drawing-strings in the top 











-- 



j J 


AMERICAN GIRL’S BOOK. 


of the pockets must come out and tie. Ornament the 
back of the book with two bows, one at top, and one at 
bottom. 


The pockets are to contain the thimble, emery-bag, 
cottou-spool, &c. They will also hold a small pair of 
scissors, in a sheath. When the thread-case is not in 
use, it must always be carefully tied up. 



A PINCUSHION NEEDLE-BOOK. 


Make a flannel pincushion in the manner alread) 
described. Let it be of a flat-sided form, and about as 


- 





















arge as a dollar, and an inch thick. Make a round 
oall of velvet or thick silk, lined with linen and stuffed 
with emery. You can get emery in small quantities 
either at the druggist’s or the hardware stores. The 
emery-ball should be about the size of a large hazel-nut. 
Sew it firmly to the centre of one of the flat sides of the 
pincushion. Get a piece of pasteboard, cut it of a cir¬ 
cular form to fit the flat side of the pincushion, and cov¬ 
er this pasteboard with silk. Then, with a piece of silk 
twice the size of the pasteboard, make a pocket with a 
case at the top. Gather the pocket, and sew it to the 
pasteboard as in the needle-book first described. Make 
an eyelet hole in the middle of the case, and run in 
galloon, securing it at the ends. This is to draw the 
top of the pocket. 

Prepare two circular flaps of cloth to stick the needles 
in ; overcast the edges and run them together near the 
back, so as to form a socket for a bodkin. Then sew 
them on the pincushion; but not, of course, on the side 
.hat has the emery-ball. Then sew on the round piece 
of covered pasteboard, as a lid to conceal the needle- 
flaps. To the upper edge of this lid sew a loop of gal- 
'oon, and pull down the loop to the other side of the 
pincushion, so as to hitch over the emery-ball, which 










270 


AMERICAN GIRL’S BOOK. 


will thus serve as a button to confine it. This is the 
fastening of the needle-book. 

If you want a string, sew it to the lower part of the 
edge of the pincushion. 

These pincushion needle-books are easil3 r made, and 
are very useful. 



A THREE-SIDED NEEDLE-BOOK. 

In making this needle-book, the first thing is to form 
the pincushion, which is thus constructed;—Take some 


— 





















0 “' 


AMERICAN GIRL’S BOOK. 


27 


- 


pasteboai .4 and cut it into three oblong pieces of equal 
size. They may be about six inches in length, and 
three in breadth. Cut a small round hole in one of 
/hem, and insert in it a soeket for a thimble. This 
srcket is sunk in the pincushion, is made of pasteboard, 
and must exactly fit the thimble,which is to go in with 
the end downwards. 

Cover the three pieces of pasteboard with thick silk, 
and sew them all together in the form of a prism, or so 
that the shape of the pincushion will be three-sided. 
Close one end with a triangular piece of covered paste¬ 
board, and stuff the pincushion hard with wool or bran. 
Then close up the other end. 

Take a double piece of silk about half a quarter of a 
yard in length, and the width of the pincushion, to one 
side of which you must sew it. Sew this silk neatly 
all round the edge, and finish the other end by bringing 
it to a point. Inside of this silk, put two cloth flaps for 
needles, with bodkin-cases run in them. You may, if 
you choose, add three silk straps, under which can be 
slipped a pair of small scissors. Put strings to the 
pointed end of the needle-book, and, when you are not 
using it, keep it rolled round the pincushion, and tied 
fast. 







,1 


272 AMERICAN GIRL’S BOOK. 


RETICULES 



A DOLL BAG. 



Get % a doll’s head, of composition. Make a square bag 
out of a quarter of a yard of silk, and run a case for a 
drawing-string at the top. Sew the shoulders of thp 




- 


—fij 


AMERICAN GIRL’S Rf( K. 


•273 


doll to the bag, just below the case. You can pass the 
needle through the hole made for that purpose in the 
composition. Having run a ribbon into the case, draw 
it up closely round the doll’s neck. Make two arms of 
stuffed linen, and cover them with long loose sleeves of 
the same silk as the bag. Sew the arms to the inside 
of the bag, and bring them out at the two slits or open¬ 
ings, that are left at the sides near the case. 

Make a very small pincushion of a little slip of flan¬ 
nel, rolled tightly up and covered with silk. It must be 
of a cylindrical form. Get two small pieces of cloth ; 
overcast or scollop the edges, and sew them on one side 
of the pincushion as flaps to hold needles. Then sew 
on over all a small piece of fur, in such a manner as to 
hang down and conceal the needle-flaps. When the 
pincushion is finished in this manner, with the fur over 
it, it will look like a little muff; and the doll’s hands 
must be sewed fast under the fur to seem as if they 
were thrust into the muff. The fur must be put on so 
as to be lifted up to get the pins or needles. 

Make a quilted bonnet for the doll’s head. She witf 
look like a lady going out with a cloak and muff. 


- 


-- *-*-*%$& 1 






'— 


o 

* 


274 


AMERICAN GIRL’S BOOK. 


These bags are very convenient to hang up in the 
sitting-room, as they not only furnish pins and needles, 
but they afford a convenient receptacle for the scraps 
and shapings that ar i in cutting out work. As the 
very smallest pieces of linen or muslin are useful to the 
Japer makers, it is wrong to throw them away or to 
Durn them. 




A CIRCULAR RETICULE. 

Take half a yard of silk, and cut it into two equal 
parts, so that there will be a quarter of a yard in each. 
Sew together the selvage ends of these two pieces so as 








- 


-— 



AMERICAN GIRL’S BOOK. 




275 


10 make a ring. In the middle of one of the breadths 
of silk, cut a slit of about half a quarter in length, or a 
little more. Lay narrow ribbon all round the inside cf 
this slh and sew it down so as to form a case for the 
strings; work the eyelet holes on the outside of the 
case. Gather the silk at top and bottom with four gath¬ 
ering threads, dividing it into quarters. 

Prepare two circular pieces of thick pasteboard. 
They must be about the size of a dollar. Cover them 
neatly with silk, and mark them into four equal divis¬ 
ions, which may be done with bits of white thread. 
Then take the silk that forms the bag, and sew it on the 
inside all round these pieces of pasteboard, making the 
divisions or quarters match exactly. Run the strings 
into the case, and the bag will be finished. 

These reticules, though they do not look large, w. 
hold a great deal. They may be made very handsome, 
by covering the two circular pieces of pasteboard with 
white satin, and painting on them small devices ir 
water colours; something in the style of watch-papers 




i 


1 










— 


276 


AMERICAN GIRL’S BOOK 



A BASKET RETICULE. 



Get a small open-work basket of a circular form, and 
without handles. Then take a piece of silk about a 
quarter and half-quarter in depth, and make it into a 
square bag, leaving it open at the bottom as well as, a> 
the top. Gather or plait the bottom of the silk, and put* 
ting it down into the basket, sew it all round to the bas¬ 
ket-bottom. The silk will thus form a lining for the 
open sides of the basket. 

Run a case for a ribbon round the top of thp bag. 












AMERICAN GI R L’S BOOK. 


277 



A THREE-SIDED RETICULE. 

Cut your silk into three pieces of equal size. Each 
must be about a quarter of a yard in depth, and half a 
quarter wide. The sides of each must be straight till 
within a finger’s length of the bottom; they must then 
be sloped off to a point. Sew those three pieces of silk 
together, (inserting a covered cord between the seams,) 
and make them all meet in a point at the bottom. Put 
a tassel or bow at each corner, and one at the bottom. 

Hem down the top, and run a ribbon into it. 


















A POCKET-BOOK RETICULE. 

These reticules are frequently made of white hair* 
cloth, and embroidered with floss silk ; but as these ma¬ 
terials may not be conveniently procured, we will .rec¬ 
ommend thick gros-de-nap, lined with stiff linen, mus¬ 
lin, or buckram. Half a yard of silk will be sufficient. 
Cut it into the shape of a large pocket-book, and cord 
the sides and round the flap. Fasten down the flap 
with two small silk buttons, and a loop of narrow rib* 


- 














AMERICAN GIRL’S BOOK. 


279 


> 1 1 - - ~ 


Don or galloon. The handles are made of two very 
stiff but slender rolls of gros-de-nap, cut bias, and filled 
as tight as possible with a roll of wadding. These 
handles must be very firm and hard, and sewed with 
great neatness. Put ribbon bnvs at the corners. 



A PLAITED RETICULE. 

For this reticule, you must have three quarters of a 
yard of silk, and a yard of thick narrow watch- 








280 


AMERICAN GIRL’S BOOK. 


ribbon, which 
length. 


must be cut into four pieces of equal 


Cut off first a quarter of a yard of the silk and lay it 
aside to line the upper part of the bag. Then cut out 
the bag, dividing the silk into two pieces. Each side 
of the bag must be the whole breadth of the silk (to al¬ 
low for plaiting,) and a quarter and half quarter in 
depth. The top is to be cut into large scollops, three 
on each side. 


On each side of the bag, baste two rows (one above 
another) of even regular plaits, and stitch down on them 
the pieces of narrow ribbon,—the upper and lower 
plaits should turn different ways. Then baste on a 
muslin lining, which need not extend to the top, as the 
scollops are to be lined with silk. Cover a cord and 
insert it between the two sides of the bag, and all round 
the scollops at the top. After the sides are sewed to¬ 
gether, make a case just below the scollops, and run in 
the strings. Put a bow of ribbon at each corner of fhe 
bottom. 











A MELON RETICULE. 

A very pretty reticule may be made in this manner. 
Cut four pieces of pasteboard an elliptical or ova! 
shape; perhaps they had better be somewhat pointed 
towards the top and bottom. They should be a quaitcr 
of a yard deep, and half a quarter in width. Split two 
of them down the middle, so as to make four half pie¬ 
ces, and let the other two remain oval. Cover them all 




- 

























i; 


282 


AMERICAN GIRL’S BOOK. 


with silk, and bind them neatly with narrow ribbon ; oi 
else insert a covered cord between the edsres. 


Sew the curved sides of the haif-pieces to the two 
curved sides of the whole pieces. This will leave the 
straight sides of the half pieces inward. 


Make a square bag of a quarter of a yard of silk. 
Run a case in the top, and gather the bottom so as to 
draw it up quite close. Unite the bag to the pieces of 
covered pasteboard, by sewing them all together at the 
bottom, so that they shall all meet in as small a space 
as possible. 


Make eyelet holes near the top of the outside or 
whole pasteboards, and, when you run the string into 
the case at the upper edge of the bag, pass the ends of 
the ribbon through these eyelet holes in the pasteboard, 
so that it will draw both ways, and connect at the top 
the silk part of the reticule with the pasteboard. 


Prepare three handsome bows of ribbon, and sew one 
at the bottom of the reticule, and the others at the top. 
The pasteboards of these reticules may be covered with 
white satin and handsomely painted. In this case the 
bags and ribbon should be pink or blue. 


- 







(jVCJ 




AMERICAN GIRL’S BOOK. 




A POINTED PtETICULE. 

Get a quarter and a half quarter of silk; cut it in 
two pieces, after having - taken off a slip for the four 
outside points. The two pieces are to form the sides of 
the bag. They must each be cut out with two points 
at the top, and one large point at the bottom. Then cut 
out the four additional points. Cord the whole with 
silk of a different colour, and line them all with the 
same as the cording. 



9 













AMERICAN GIRLS BOOK. 


| 284 


— i 


Then sew the two sides together, inserting a cord be¬ 
tween. Next sew on the four outside points, two on 
each side, so as to hang downvvards ; finishing theii 
straight edge with a cord sewed also to the reticule. 
Make a case just below the top-points, and run in a 
narrow ribbon. 



* A IIALBERT-SHAPED RETICULE. 


Take a quarter and half-quarter of silk. Cut off and 
lay aside a half-quarter to line the top. Then cut ou 






















AMERICAN' GIRL’S BOOK. 


285 


-- 

Olj 


the two -sides of the bag, which must be rounded at the 
bottom, and terminating in a point at the top. It must 
also be rounded at the upper corner. Line the lower 
part with muslin, and the inside of the top with silk, 
sewing a covered cord all round. 

Sew together the two sides of the bag, and make a 
case where the silk lining leaves off. 

Get some satin piping-cord, and sew a row of it on 
the outside of the bag. so as to correspond in form with 
the shape of the top. Put on two bows of ribbon, one 
at each side, and run in the strings. 

The ribbon and piping-cord had better be of a differ¬ 
ent colour from the silk of which the bag is made; foi 
instance, a purple reticule may be trimme I with blue 
a green one w r ith pink, &c. 















- 


- 


2S6 


AMERICAN GIRL’S BOOK. 



A/WWWW 

njnji_ri_ru 

www\ 


A DIMITY RETICULE. 


Little girls will find these reticules very convenient 
for common use, as they can be washed. 

Take a quarter of a yard of fine cambric dimity, of 
the very narrowest cord, and split it in two. Cut the 




















AMERICAN GIRL’S BOOK. 


28 ? 


shape of a small scollop or point out of an old card or a 
bit of thick paper. Laying this on the dimity, draw a 
row of points or scollops all round, taking care not to 
go too near the edge, and turning the corners hand¬ 
somely. The drawing may be done with a lead pencil, 
or the point of a fine camel’s-hair brush, dipped in wet 
indigo or prussian blue. Baste or tack the two sides of 
the bag together, and following the outline of the scol¬ 
lops, run them along with very neat short stitches; tak¬ 
ing care always to stick the needle through both sides, 
as it is that which unites them. 


When you have done running the scollops,.-cut them 
out with a pair of sharp scissors, but avoid cutting too 
close to the stitches. Then turn the bag right side out¬ 
wards, and with the blunt end of a bodkin poke out the 
scollops into their proper shape. Get some tape and 
sew it all round the inside of the bag, about two inches 
from the top. This will form the case, into which you 
must run strings of white cotton cord. 


These bags may be made of cambric-muslin, or small- 
figured gingham. 










•mM 


3^— 


288 


AMERICAN GIRL’S BOO] 



yQ/5/5/Q/Q, 'SJELTHTE. 
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A BRAIDED RETICULE. 


Cut out two pieces of new cambric-muslin, or fine 
cambric-dimity. Each piece must be a quarter of a 
Vard wide, and a quarter and a nail in depth, to allow 









AMERICAN GIRL’S BOOK. 


2S9 


i^^rnr-r'-- 


for the case at the top. Have ready a pattern for braid¬ 
ing, drawn with a pen and ink on a slip of thick white 
paper, and baste it under the muslin, not too close to the 
edge. Take a piece of narrow worsted braid of any 
colour you like, (but scarlet, black, or dark blue will be 
the most durable,) and having wound it in a ball, stitch 
it neatly with sewing-silk on the muslin ; taking care 
not to draw it too tightly so as to pucker it, and be sure 
to follow the pattern exactly. Then sew together the 
two sides of the bag, make the case at the top, and run 
in a white cotton cord. 



When this bag is washed, it must not be scalded or 
boiled, as hot water will take the colour out of the 
braid. 

You may make a very pretty reticule of small-figured 
blue or pink gingham, ornamented with white cotton 
braid. 

Braiding is a sort of work that can be done very ex¬ 
peditiously. The above are some of the easiest pat¬ 
terns. 


A A 











Ti fiSB iOa ■■) 


















































- 



VAKIETIE 8. 



A LAMP STAND. 

Procure about a quarter of a yard of very chick cloth 
jr drugget, and cut it exactly square. Then get a yard 
of wide Brussels carpeting of only two colours, as, for 
this purpose, a variety of colours causes a confused and 
indistinct effect, and always looks badly. The best tints 
(or a lamp-stand are shaded greens, varied only with 



























292 


AMERICAN GIRL’S BOOK. 


shaded browns. These colours will give the effect of 
rich moss. 


Cut the carpeting into strips about three inches broad 
Mark out on the cloth or drugget the space you intend to 
leave vacant for the foot of the lamp. You can make 
ihe marks by tacking a white thread along, so as to 
form a square. Round the outer edge of this square 
the strips of carpeting are to be sewed. 


Prepare, for the corners, some bits of carpeting, 
which ar^o be very small near the white line, and are 
gradually to increase in size as they advance towards 
the outer extremity of'the drugget. Begin by sewing 
on these bits so as to fill all the corners with them. 
Then sew on all the strips, extending them from corner 
to corner. Each strip (as well as the corner pieces) 
must be doubled or folded in the middle, and stitched 
down on the right side. 



When the strips are all sewed on, they must be ravel* 
led or fringed, so as to look like long plush or velvet. 
Afterwards go over the whole surface with a pair ol 
very large scissors, and shear it as even as possible 










AMERICAN GIRL’S 


BOOK. 


293 


- 



A COURT-PLASTER CASK 

Cut out of thick paper a model of the caso, which is 
a square of about four inches, with a semicircular leaf 
projecting from each side ; these four leaves when they 
are fok d down shut in the court-plaster. 

Lay he model on a piece of fine white drawing-pa¬ 
per, anu trace the size and shape with a pencil. Then 
cut it out. With water-colours paint a narrow border 
all round, and both on the inside and outside, and also a 
pretty little device on the back. Write on the inside 
with red ink these lines :— 


“ If knife or pin should hand or face offend, 
This htile case ts healing help will lend ” 


















•><)4 AMERICAN GIRLS BOOR. 



A MATCH BOX. 

Get a very small tumbler, such a one as is generally 
sold for sixpence. Cover the outside with fine colpur- 
ed paper, blue, pink, lilac, or light green, pasted on very 
smoothly and evenly. When it is dry, paste a bordci 
or binding of gold paper round the top or upper edge of 
the tumbler, and ornament it all over with small sprigs 
stars, or spots, cut also out of gilt paper. 













——— 





AMERICAN GIRL’S BOOK. 


Vou mi st next have recourse to a colour-box for 


«ome burnt-umber, and a fine camel’s-hair pencil. The 


amber is a handsome brown colour; rub a little of it on 
a plate or saucer, and with the camel’s-hair pencil trace 
a dark narrow line close under the lower edge of the 
gold border, and also along the right-hand edge of every 
one of the spots or sprigs ; but on no account continue 
the dark line round both sides of the gold ornaments, as 
that will destroy the effect. If properly done, the dark- 
brown shade, on one side of the gold, will make all the 
ornaments look as if they were relieved or raised from 
the surface. 

Then fill the box with paper-matches, and keep it on 
the mantel-piece. 

In pasting the coloured paper on the tumbler, you can 
leave a vacant space, which may be occupied by a hand¬ 
some little engraved picture, bordered with gold. 

In making matches, cut the paper into long straigh. 
narrow slips, an inch or two wide. Fold them two or 
three times, and stroke them down between your fore¬ 
finger and thumb, pressing them very hard with your 
thumb-nail, so as to make them firm and even. 


i 






















A RIDDLE FLOWER. 

Procure some fine pink, blue, or yellow paper, and 
cut out thirty-six leaves, all exactly alike. The form 
must be a narrow oval, diminishing to a point a* each 




21)6 AMERICAN OIRL’S BOOK 


















- 




AMERICAN GIRL’S EOOK. 29 ? 

end ; the size about six inches long, and two inches wide 
at the broadest part. 

Write, in very small neat letters, a conundrum on 
each leaf, and put the solution on the back, or under 
side. Cut out of green paper, four large leaves, resem¬ 
bling those of the oak, and write an enigma on each 
with the answer on the back. Make a fold or crease 
down the middle of each flower-leaf and unite them all 
in the centre with a needle and thread ; so that they 
spread out all round, resembling a dahlia. 

For the stalk, prepare some wire, coveied with nar¬ 
row green ribbon wrapped closely round it. With a 
needle, fasten the green leaves to this stalk, and then 
put on the flower. In the centre of the flower, put a 
small circular piece of pasteboard or card, painted yel¬ 
low so as to imitate the stamina, and sew it on neatly to 
conceal the place where all the leaves come together. 
Fasten a similar little piece to the back of the flowe 
where the stem is joined to it. 

Three or four of these flowers, in a tumbler or flower- 
glass, make a handsome ornament for a centre table 
and the riddles, if well selected, will afford amusement 
to visiters 


— 










A DANCING DOLL. 

Draw, on fine pasteboard or Bristol-board, a doll 
about a foot high, and paint her face and hair hand¬ 
somely ; then cut her out. Make, separately from the 




AMERICAN GIRL S BOOB. 














AMERICAN GIRL’S BOOK. 



doll, a pair of pasteboard arms, and a pair of legs of the 
t,ame material; and paint the hands and feet. The 
doll’s waist must be covered with a body or corsage of 
silk or satin, lined and made shapely with a little wad¬ 
ding. Cover the arms with white sleeves of crape or 
thin muslin ; let them be wide and full, and confine 
them at the wrist. Sew on the arms to the shoulders 
or bust of the doll. They should be made as if she 
were holding out her frock with them. 


Prepare a silk skirt, and plait it on to the doll’s waist, 
concealing the join with a belt or sash. You may add 
an apron of thin crape, trimmed with ribbon, and tucked 
up at one corner with a small flower. 


Put silk shoes on her feet, having sewed on the legs 
of the doll in such a manner that they will move easily 
from the knees. 


Take a small spool or ball of black sewing-silk. Pass 
one end of it through the body of the doll, and having 
made a large knot on this end, tie it to the bar of a 
chair. Slip the doll along the thread of silk till she is 
about a yard from the chair. Then place yourself in 
front of her, holding the spool in your hand; you may 





























stand two yards from the doll. Jerk the thread up and 
down so as to move the doll, and make her feet go as if 
they were dancing. 


When you are about to put her away, draw in the 
thread close to her back (the knot will prevent its com¬ 
ing through), wind up the spool, and lay it with the doll 
in her box or drawer. 

There must be a flat skirt of pasteboard under the 
silk skirt to shape it out; and to the middle of this 
pasteboard the legs must be loosely fastened, but not so 
as to endanger their dropping off. 












—- 


-- 


£1 


m 


AMERICAN GIRL’S BOOK. 


with a linen doll, and by renewing the outside covering, 
and stitching up an occasional rent, they can be made 
to last for years. We have always observed that they 
remain longer in favour with their young owners, and 
continue to give them more real satisfaction, than the 
handsomest wax doll that can be purchased. 


To make a large linen doll in the best manner, you 
will require, perhaps, a gallon of bran, which in the city 
will cost a few cents, in the country nothing. Before 
you go to work, collect all the materials, and put them 
on a large waiter; else the litter on the floor around 
you will be very great. 


Get some coarse white linen, and cut out of it a piece 
to represent the head, neck, and shoulders of the doll. 
Then, for the other side, cut out another piece precisely 
of the same Tsize and shape. The size of the head, 
when finished, may be that of a common orange ; but 
the pieces of linen must be quite large, to allow fbr a 
great deal that will be taken up in stuffing. Then cut 
out the upper part of the arms (from the shoulder to the 
elbow) and then the lower part, from the elbow to the 
wrist; shaping them handsomely. Next cut out the 
hands. You will not be able to make any tolerable im- 




•MSI 









- 




AMERICAN GIRL’S BOOK. 


303 


itation of fingers ; therefore, all you can do is to round 
off the hands in as shapely a manner as possible. 

Next cut out two pieces of linen for the back and 
front of the doll’s body, and give the waist a handsome 
tapering shape. Afterwards cut out the legs from the 
hips to the knees ; and then, in two separate pieces, the 
legs from the knees to the ancles'; shaping them well. 
Lastly, cut out the feet in four pieces, two. for each side. 

All these different parts of the doll must be sewed 
separately, stuffed tightly with bran, and then strongly 
sewed up at the ends. They must be stuffed so hard 
that they cannot be dented. 

The head must be made of a good shape and well 
rounded. To stiffen the neck (which would otherwise 
droop down, and hang about as if broken) take a 
smooth round stick, near six inches or half a foot long, 
and [fs thick as a man’s thumb ; thrust this stick into 
the neck, among the bran, passing one end up into the 
head, and leaving enough of the other end to go down 
into the breast. If the bran has been stuffed in suffi¬ 
ciently tight and firm, it will keep this stick quite steady, 
and the head will always be erect. 


- 


- 














1 


;J04 


AMERICAN SIRL'S BOOK. 


The next thing is to sew the different parts of the 
arms together, so as to make joints at the elbows and 
wrists; and then cover them entirely, from the shoul¬ 
ders to the termination of the. hands, with fine white 
linen nicely fitted. Then sew together the different 
parts of the legs, making joints at the knees and ancles, 
and cover them also with fine linen. This outside cov¬ 
ering will not prevent the joints from bending. Next, 
cover the head, neck, and breast with fine linen. In 
sewing the outer covering on the head, great care and 
nicety is requisite in turning in the folds and wrinkles 
of the linen. These folds and wrinkles must be so 
managed as to come as much as possible to the back and 
top of the head, leaving the face with a smooth and even 
surface. 

When all the different parts are completed, they must 
be put together, and sewed very firmly with strong 
thread. That is, the head, neck, and breast of the doll 
must be sewed to the body, the arms must be sewed to 
the shoulders, and the Legs to the lower part of the 
body. 

When the doll is so far completed, her face must be 
handsomely painted in water-colours, so as to represent 










AMERICAN GIRL’S BOOK. 


305 


cheeks, eyes, nose, and mouth ; hair must also be paint¬ 
ed to look as if curling- all over the back of her head, 
and round her forehead. When the face becomes soil¬ 
ed, it can be renewed by sewing on a new piece of lin¬ 
en, and painting it again. 

A linen doll of this description can easily be made to 
sit alone on the floor, to kneel, and to bend her arms in 
any position. As has been explained, the joints are 
formed by making the doll in so many separate pieces, 
and then sewing them all together. The proportion of 
each part should be well observed. 

You may make gloves for her out of the arms of old 
kid gloves, and also boots or shoes of the same. Her 
stockings may be made of the tops of fine old stockings. 
If properly drest in a nice frock and petticoats (like a 
baby for instance) this doll will look extremely well; 
particularly if her face is prettily painted : and she will 
be found an excellent playthirg even for a little girl of 
seven or eight years old, who may take pleasure in 
making clothes for her. 


J3b 





A COMMON LINEN DOLL. 


These doils are easily made, and answer every pur¬ 
pose for very small children. They may be of any 
size, from a quarter of a yard long to a finger’s length. 
Some little girls make a dozen of these dolls togelhei 
and play at school with them. 


t 




















-- 




AMERICAN GIRLS BOOK. 


S07 


Fold a piece of linen or thick muslin in half, and 
ihen roll it up as tightly as possible. The upper end of 
the roll is to represent the doll’s head, which must be 
gathered on the top with a needle and thread and then 
drawn closely together, and sewed up in the centre. 
The roll must then be sewed half way down, beginning 
at the back of the head, and continuing as far as what 
is intended for the bottom of the waist. From the waist 
the linen must go loose, and be made to spread out as 
widely as possible ; so as to form something like a pet¬ 
ticoat. Cut the linen quite even at the lower edge, that 
the doll may stand steadily. 

Get a piece of calico or gingham for the frock, sew it 
up behind, and then hem the bottom. Turn in the top 
and gather it. Put it on the doll, and draw it up close¬ 
ly round the neck, fastening it behind with a few stitch¬ 
es. Form the waist of the frock, by wrapping a thread 
or small string tightly round it, and drawing it in as 
small as possible. 

For the arms, roll up two small pieces of linen sew 
them up, and cover the upper part of each with a little 
of the same calico as the frock, to represent a short 
sleeve. Then sew the arms to the doll, just above the 
top of the frock. 





























—*4#S< 


‘JOS 


1 ME RICAN GIRLS BOOR. 



A BLACK DOLL 

May be made in the same manner as the preceding. 
The linen part must have an outside covering of black 
silk or black canton crape. The frock should be of do¬ 
mestic gingham or calico, and she should have a check 
apron. A white muslin cap on her head will gre'atly 
improve her appearance. 

You may make a whole family of these linen dolls, 
representing a mother and several children, among them 
a baby. A black one may then be added as a servant. 














—... . - il 


AMERICAN GIRL’S BOOK. 


*y:v \ 



A PEN-WIPER. 

Take two old playing-cards, and cover them on both 
sides with silk, sewed neatly over the edges. Then 
sew the cards together, so as to resemble ^he cover of a 
book. To form the leaves of the book, prepare six oi 
eight pieces of canton crape; double them, and cut 
them to fit the cover. With a pair of sharp scissors 
scollop them all round, and then lay them flat and even 
on the cover, and sew them in with a needle-full of sew¬ 
ing-silk. On these leaves of canton crape the pens arc 
to be wiped. Black is the best colour. 



























































•no 


AMERICAN GIRL’S BOOK. 



ANOTHER PEN-WIPER. 


3 


Cut out a great number of pieces of canton-crape, 
about the size of half a dollar, and of as many different 
colours as you can procure- Lav them evenly in seu- 




- 








rt ME RICAN GIRL’S BOOK. 



arate piles, *et one pile be black, another red ; some 
piles blue, and some green. Let there be an equal 
number of pieces in each pile. Then stick a needle 
with a thread of silk in it, through the centre of each 
pile, and fasten the pieces together. When all your 
various piles are ready, make a small hole through the 
middle of each, with a pair of sharp-pointed scissors, 
and run a silk cord through them all, as if you were 
stringing beads ; arranging the different colours accord¬ 
ing to your taste. You may make the string of pen¬ 
wipers of any length, from a quarter of a yard to a 
whole yard. 


These are very useful to hang over a desk where a 
great deal of writing is done, and may be acceptable 
presents from little girls to their fathers. 

They will look the better for having the edges scol¬ 
loped. You may either fasten each cluster of pieces 
permanently to the string, so as to remain stationary, oi 
you may leave them to slip up and down like beads. 









-- 


*—*-*-*£$& 




AMERICAN GIRL’S BOOL 



A THIRD PEN-WIPER. 



Cut out two circular pieces of pasteboard about the 
size of a dollar, or larger if you choose, and cover them 
with silk on both sides. Then get some canton crape; 
cut it into round pieces to fit the covered pasteboard, 
and scollop their edges in very small points. You may 
prepare eight or ten pieces. Put the leaves of crape 
between the two pasteboards, and fasten them all in the 
centre, stitching them through and through with strong 
silk and a coarse needle. Conceal the fastening, by 
covering it on each side with a tuft of ravelled or floss 
silk of a bright colour. 


-- 





















—■ 



AMERICAN GIRLS BOOK. 


aj j 



HEXAGON PATCH-WORK. 

Little girls often find amusement in making patch- 
work quilts for the beds of their dolls, and some even go 
so far as to make cradle-quilts for their infant brothers 
and sisters. 

Patch-work may be made in various forms, as stars, 
triangles, diamonds, waves, stripes, squares, &c. The 
outside border should be four long strips of calico, all of 
the same sort and not cut into patches. The dark and 
light calico should always be properly contrasted in ar¬ 
ranging patch-work. 

L C 


























- 




H4 


AMERICAN GIRLS BOOK. 


I 


Children may learn to make patch-work by beginning j 
with kettle-holders, and iron-holders ; and for these pur¬ 
poses the smallest pieces of calico may be used. These 
holders should be lined with thick white muslin, and 
bound all round with tape ; at one corner there should 
be a loop by which to hang them up. Blower-holders 
are very convenient for the use of servants, to save 
/heir hands from scorching when they remove the blow¬ 
er from the coal-grate. 

Perhaps there is no patch-work that is prettier or 
more ingenious than the hexagon, or six-sided ; this is 
also called honeycomb-patch-work. To make it proper¬ 
ly you must first cut out a piece of pasteboard of the 
size you intend to make the patches, and of a hexagon 
or six-sided form. Then lay this model on your calico, 
and cut your patches of the same shape, allowing them 
a little larger all round for turning in at the edges. 

Of course the patches must be all exactly of the same 
size. Get some stiff papers (old copy-books or letters 
will do) and cut them also into hexagons precisely the 
size of the pasteboard model. Prepare as many of these 
papers as you have patches. Baste or tack a patch 
upon every paper, turning down the edge of the calico 
over the wrong side. 


I 



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AMERICAN GIRLS BOOK. 


315 


Sew together neatly over the edge, six of these patch¬ 
es, so as to form a ring. Then sew together six more 
in the same manner, and so on till you have enough. 
Let each ring consist of the same sort of calico, or at 
least of the same colour. For instance, one ring may 
be blue, another pink, a third yellow, &c. The papers 
must be left in, to keep the patches in shape till the 
whole is completed. 

When you have made a sufficient number of the cal¬ 
ico rings, get some thick white shirting-muslin, and cut 
it also into hexagons, which must afterwards be sewed 
over papers like the coloured patches. Sew one of the 
white hexagons in the centre of each ring of calico, 
which must then be surrounded with a circle of white, 
which will make three white patches come together at 
each corner of the coloured rings. 

In this manner all the patches are put together till 
the whole is finished. Put a deep border all round, of 
handsome dark calico, all of the same sort. 

Prepare a lining of thick white muslin, and lay bats 
of carded cotton evenly between, after you have put it 
into the quilting-frame. In quilting it you have only to 
follow the shape of the hexagons. When it is taken 
out of the frame, finish it with two or three rows of run¬ 
ning at the edge, which must be neatly turned in. 



y&frnnr - 


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f-- 


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TO THE 


iisiasiaacBiisT (a-iiaa a 3 ia©®sie 


CONTAINING A FEW 


ADDITIONAL PLAYS AND PASTIMES, THICKS WITH CARDS 


RIDDLES, AND AMUSING WORKS. 


«► 




-Ajuai 
























319 


PLAYS AND PASTIMES. 


SEEK THE WHISTLE. 


At the beginning, select from the company one who 
is quite ignorant of the play, for instance Susan. Place 
her in the middle of the room, and let all the others 
form a circle round her. Lucy, having prepared a little 
tin whistle tied to a long string, which has a knot at the 
other end with a pin stuck through it, slily fastens it to 
the back of Susan’s frock,and tells her that she must en¬ 
deavour to find out which of the company has the whis¬ 


tle. 


If the whistle is fastened on with dexterity and ad¬ 
dress, Susan will not very soon discover that she has it 
herself. Each of the girls steps out in turn, and, going 
behind Susan, catches up the whistle as it hangs to her 
frock, and blows it loudly. Susan then turns hastily 
round, thinking she can find the owner of the whistle 




















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320 


AMERICAN GIRL S BOOK. 


by the sound. As she turns, another of her playmates 
goes behind her and blows the whistle. 

The whistle should be blown by as many ana as fast 
as possible, to add to Susan’s perplexity. If the joke is 
well managed, it will perhaps be ten minutes or a quar¬ 
ter of an hour before she discovers that it has been all 
the time fastened to the back of her own frock. The 
children can, if they choose, continue the play even after 
the whistle ceases to be a mystery to the little girl to 
whom it is fastened. She, who is caught while blow¬ 
ing the whistle, takes her place in the centre, and has it 
attached to her back, till she, in her turn, detects some 
one in the act of sounding it. 

This is a very lively, though rather a noisy game, 
and can be played very well out of doors in a yard or 
field. 


HOT COCKLES. 

This is an old English play, and very simple. Mary 
kneels down, concealing her eyes in the lap of Jane, 
and holding her right hand behind her back with the 
palm outward. Or she may kneel with her face on the 


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AMERICAN GIRL’S BOOK. 


32 ] 


sofa or chair-bottom. Her companions come softly be¬ 
hind her one by one, and each slaps her hand into the 
hand of Maty, who endeavours to guess which of the 
little girls has given the slap. Whenever she guesses 
rightly, the one that has given the last slap takes Ma¬ 
ry’s place. 


SHADOWS. 


This game can only be played in the evening. Lucy 
takes her seat on a stool fronting a white wall or white 
door, and about a yard distant from it. Behind her, at 
some distance, is a table on which is a small lamp. Each 
of her companions passes in turn behind Lucy and be¬ 
fore the lamp. Not being permitted to turn her head, 
she must endeavour to guess them by the appearance of 
their shadows on the wall. Whoever she guesses cor¬ 
rectly takes Lucy’s place. They may endeavour to dis¬ 
guise their looks, by putting on shawls, bonnets, &c. or 
by making grimaces and contortions. 






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AMERICAN GIRL’S BOOK. 


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323 


BLINDMAN’S RING. 

The little girls seat themselves in a ring or circle. 
F anny is blindfolded closely; after which she turns 
round three times, and then walks backward, endeav¬ 
ouring to seat herself on the lap of one of her compan¬ 
ions. When she has done so, she must try to guess on 
whose lap she is sitting, but is not permitted to use her 
nands. She that is rightly guessed takes the place of 
tl e blind-man ; and as soon as the handkerchief is tied 
on, all the other girls change their places. This is a 
very quiet play, as no one speaks during the perform¬ 
ance. 


THE TWO BLIND SISTERS. 


Two of the company are selected as sisters—Jane 
ivho is quite unacquainted with the play, and Lucy who 
is in the secret. Both Jane and Lucy are blindfolded, 
and kneel down together side by side in front of Mary, 
who is seated and personates their mother. Before the 
handkerchief is pulled down over Jane’s eyes, a stick 


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324 


AMERICAN GIRL’S BOOK. 


or something of the kind is shown to her, and she is 
told that each of the company is to strike her with it in 
turn, till she guesses by whom the blow is given. Jane 
is then completely blindfolded ; but the handkerchief is 
raised above Lucy’s eyes' so as to enable her to see per¬ 
fectly. The stick is given to Lucy, and she in reality, 
is the person that always strikes Jane. Jane at every 
blow guesses some one, and each that she names pays a 
forfeit. The play goes on till Jane discovers the decep¬ 
tion by proclaiming her surprise at always guessing 
wrong, and declaring that she will make no farther at¬ 
tempt. The trick is then disclosed to her, the handker¬ 
chief taken off, the forfeits are sold and redeemed. 


ISrample. 


Mart. Jane, I believe you have never played at the two blind sisters ? 

Jane. Never. 

Miry. Well, you are the only one present that has not. So you shall bo 
one of the sisters, and Lucy the other. I will be the mother. Come, both of 
you, and kneel down before me. See, Jane, hero is a little stick, with whicV 
you are to be struck while blindfolded. Do not be afraid ; the blows will be 
too slight to hurt you. You must endeavour, after each blow, tc guess by 
whom it was given, addressing yourself to Lucy. Now let mo blindfold you 
both. (She pulls the handJccrchief entirely over Jane's eyes, hvt raises it above 




-SOUL 


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AMERICAN GIRL’S BOOK. 


325 


Lucy's. She then puts the stick into Lucy's hand , and makes a sign to her to strike 
fane. Lucy (who secs all the time) gives Jane a slight blow on the shoulder.) 
Jane. Sister, some one strikes me. 

Lucy. Well—who do you think it is ? 

Jane. It is Fanny. Is it not, mother? 

Mary. No, it is not. — Fanny, you must pay a forfeit, os Jane has mistaken 
you for the person that has struck her. ( Funny gives Mary a book as a forfeit. 
Lucy strikes Jane on her arm.) 

Jane. Sister, I am struck again. 

Lucy. Who is it now? 

Jane. I am almost sure it is Susan. 

Mary. It is not her. Come, Susan, your pawn. (Susan gives a handker¬ 
chief as a pawn. Lucy strikes Jane gently on the head.) 

Jane. Sister, some one else strikes me. 

Lucy. Who cat! it be ? 

Jane. It is Lydia. 

Mary. No —you are mistaken. Lydia, where is your forfeit? (Lydia Jor* 
feits a pincushion, and Lucy strikes Jane on the back.) 

Jane. I am struck again, sister. 

Lucy. Who is it now ? 

Jane. I think it i3 Ellen. 

Mary. No, it is not. Ellen, come forward with your pawn. (Ellen forfeit! 

a comb. Lucy strikes Jane on the hand.) 

Jane. Sister, another blow ! 

Lucy. Well—who gave it ? 

Jane. I am certain it was Anne. 

Mary. No, indeed—Anno was not near you. tJSnne forfeits a flower Luej 
Strikes Jane on the foot.) 

Jane. Ah ! there is a trick in all this. I find I am never to guess right. 


f 

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d26 


AMERICAN GIRLS BOOK. 



'Lucy strikes her on the neck. Jane at the same moment snatcnes the liandker 
thief from her eyes, and catches Lucy in the act of giving the blow.) 

Jane. Aha! Have I found you out! So, it is you, Lucy, that have been 
Itriking me all the time. What a perfidious sister! Yes, I see that youi 
blindfolding was not real. Ha, ha, ha! How slily you all carried on the joke ! 

Mary. Well, now that you have discovered it, the play is at end : At least 
after the forfeits are redeemed. So let us proceed to sell them. 


At the close of a game of forfeits, all the remaining 
pawns may be redeemed at once by the whole company 
joining in 

THE WASHING SONG. 

To bo sung in chorus, with appropriate action. 

Each of the singers must be provided with a handkerchief or apron, 
with which they can imitate all the various motions of washing . 
starching, ironing, fyc. 


This is the way we wash our clothes, 
Wash our clothes, 

So early Monday morning ; 

This is the way we wash our clothes 
So early Monday morning. 


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TT-ff—r 


























AMERICAN GIRL’S BOOK. 

2 

This is the way we rinse our clothes, 

Rinse our clothes, 

So early Monday morning. 

This is the wav we rinse our clothes. 

So early Monday morning. 

3 

This is the way we wring our clothes, 

Wring our dottles, 

So early Monday morning. 

This is the way we wring our clothes. 

So early Monday morning. 

4 

This is the way we hang out our clothes, 
Hang out our clothes, 

So early Monday morning. 

This is the way we hang out our clothes. 
So early Monday morning. 

5 

This is the way we sprinkle our clothes. 
Sprinkle our clothes, 

So early Monday evening. 

This is the way we sprinkle our clothes, 
So early Monday evening. 

G 

This is the way we fold our clothes, 

Fold our clothes, 

So early Monday evening. 



















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AMERICAN GIRL’S BOOK. 


This is the way we fold our clothes, 

So early Monday evening. 

7 

This is the way we starch our clothes, 

Starch our clothes, 

So early Tuesday morning. 

This is the way we starch our clothes, 

So early Tuesday morning. 

( Clapping them as if clear-starching .) 

8 

This is the way we iron our clothes, 

Iron our clothes, 

So early Tuesday morning. 

This is the way we iron our clothes, 

So early Tuesday morning. 


This song might be introduced at Infant Schools. 


2 . 


A forfeit may be redeemed by desiring the owner tc* 
place two chairs together back to back, take off her 
shoes and jump over them. To do this, place the chairs 
together, take off your shoes, lay them side by side and 
jump over them (the shoes.) 




— 







3 . 

You may redeem a pawn by walking six times round 
the room, wearing four hats at once. They must be 
boys’ hats, piled one on another. 

D D 























.130 



AMERICAN GIRLS BOOK, 


4. 

Eight forfeits may be redeemed together, by eight ol 
the company dancing a cotillion, blindfolded. 


5 . 


Two pawns may be redeemed at once, by a sack race. 
The persons to whom the forfeits belong must be tied 
up in large bags or sacks (leaving only the head out) 
and in that manner must run a race, to any place or ob¬ 
ject appointed as the goal. 


6 , 


Tie a bunch of cherries or raisins to a string or line 
placed over the head of the owner of the pawn, who 
may redeem it by jumping up and catching the cherries, 
one at a time, in her mouth. The forfeit is restored to 
her, when she has thus caught all the cherries. She 
must not use her hands 










jg#£inr-^- 

5 r -~ - -- -. 




AMERICAN GIRL’S BOOK. 


331 


TRICKS WITH CARDS. 


THE BLACK SAILORS. 

You must introduce this trick by the following little 
story:— 

“ A ship, having an unusually long passage, the pro* 
visions were nearly exhausted. The crew consisted of 
ten black sailors and ten white ones. The captain 
thought it expedient to throw half his men overboard, 
that there might be a greater proportion of food for the 
remainder. He considered it best to get rid of the 
blacks. He ranged the crew in a row, and informed 
them, that, to save the whole from perishing by famine, 
there was no alternative but to throw every fifth man 
into the sea. He had contrived to place them in surli n 














|g^no.- 


-*-*-*£$$ 


332 


ERICAN GIRL S BOOK. 


manner, that, on counting them off, every fifth man was 
always a black.” 

After this introduction, proceed to perform the trick* 
which excites much surprise in those who do not under¬ 
stand it. 

The process is as follows :— 

Keep in your mind the words, “ A grey owl did eat a 
snake.” Select from the pack ten black cards and ten 
red ones. Tell the company that the black cards signi¬ 
fy the negro sailors, the red cards the white men ; but 
keep to yourself that the blacks also denote vowels, and 
the red consonants. Arrange the cards in a row, in 
conformity to the words, “ A grey owl did eat a snake.” 
but say nothing of these words to the company. Con¬ 
sider the letter v, in this instance, as a vowel. In form* 
ing the line, wherever a vowel occurs place a black 
card, and lay down a red one for every consonant. 
This is the exact manner of disposing them. 

One black—two reds—three blacks—three reds—one 
black—one red—two blacks—one red—one black—twc 
reds—one black—one red—one black. 





AMERICAN GIRL’S BOOK. 


333 


When they are all properly placed, count them audi¬ 
bly by fives, but say nothing of the grey owl. Take 
out of the row and lay aside, every fifth card as you 
come to it. You will always find it a black. Whenev¬ 
er you take out a fifth, proceed to the next card, begin¬ 
ning again, where you left off, and counting, “ one, two, 
three,” &c. till you come again to a fifth. When you 
have gone once through the line, re-commence at the 
head of it, and go on till you have got rid of all the 
blacks. If the cards are properly placed, according to 
the occurrence of the vowels and consonants in the 
words which form the key to the trick, and if they are 
properly counted, it must all come out right at last. 


This trick can be done with the Historical Cards of 
Philadelphia or the Cards of Boston, selecting ten cards 
with blue labels, and ten cards with red, to denote th« 
black and white sailors. 


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I^^OI- 




334 


AMERICAN GIRL’S BOOK. 


THE FOUR LATIN WORDS. 


Maria takes twenty cards from the pack, and lays 
them on the table, two together, in pairs. She desires 
Louisa to select, in her own mind, any one of the pairs 
she pleases. Louisa chooses a pair consisting (for in¬ 
stance) of the king of diamonds and the queen of hearts, 
and she whispers her choice to Harriet, or to any other 
of tfye company. Maria then takes up the twenty 
cards, two at a time and puts them all together, being 
careful not to separate the pairs. She must, on no ac¬ 
count, shuffle or mix the cards after she has taken them up. 

Maria must keep in her mind (without disclosing 
them to the company) four Latin words, “ Mutus dedit 
nomen cocis.” In the course of these words each letter 
occurs twice. She then lays down the cards, one at a 
time, on the table; placing them in such a manner that, 
at last, they form four rows or lines, one above another; 
each row containing five cards, and denoting one of the 
Latin words. 

She begins by laying down a card which is to com¬ 
mence the first row and signifies M, the first letter of 
•:he word Mutus. She then places in what is to be the 
centre of the third row, another card signifying the M 
of Nomen, leaving a vacancy for the whole second row 















o 


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AMERICAN GIRL’S BOOK, 



and for the two first letters of the third. Next she lays 
down the two U’s in Mutus, leaving between them a 
space for the T. She then puts in the card that is to 
signify T, and follows it by placing at the end of the 
second line the T that concludes the word Dedit. She 
then finishes Mutus by placing at the end of the first 
row the card that is to mean S, and she lays down the 
S that concludes Cocis, at the end of the space left for 
the fourth line. 

Next she places under the first M (Mutus) a card sig¬ 
nifying D (Dedit), then the other D in the middle of the 
word; then the E between the two D’s, and then the E 
in the third line that belongs to Nomen. Afterwards 
she puts the I between the second D and the T. This 
completes the word Dedit. 

Next she lays down the two N’s in Nomen (the third 
row), one at the beginning, the other at the end of that 
line. Afterwards, the 0, next to the first N, and direct¬ 
ly below it the 0 in Cocis. This finishes Nomen. 

Finally, in the fourth line, she places the two cards 
that stand for the two C’s in Cocis, one on each side of 
the 0, and this completes the arrangement of the four 
Latin words. 

Maria then asks Louisa, in which row or line are the 
cards that she has chosen ? We will suppose Louisa tc 




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AMERICAN GIRLS BOOK. 


reply, that she sees one of her cards in the first row, and 
one in the second. Maria then points out both cards, 
the king of diamonds being the T in Mutus, and the 
queen of hearts the T in Dedit. Louisa, not under¬ 
standing by what means Maria can identify them exact¬ 
ly, is of course surprised. After Maria has performed 
this trick often enough for all the company to have had 
an opportunity of choosing cards, she should explain the 
manner of doing it. 

The two cards that are chosen always come out so as 
to signify the same letter, as two M’s, two E’s, two O’s. 
Perhaps both may be found in one line; as, the two 
D’s in Dedit, the two N’s in Nomen, the two C’s in 
Cocis. 

Between every performance of the trick, let the cards 
be well shuffled. It will always come out right, if the 
pairs are not divided in taking them up and if ail urn 
cards are properly placed in forming the lines. 

It must be recollected, all the time, that the four L»atin 
words, which constitute the key to this trick, are 



MUTUS 
DEDIT 
N 0 M E N 
COCIS 









j^rnr-■ 


AMERICAN GIRL'S BOOK. 337 

THE LADY AND HER BOARDERS. 

Taka a pack of cards, and look out, privately, the 
four knaves and one of the queens, (for instance the 
queen of spades.) Lay one of the knaves secretly on 
the top of the pack. Then spread on the table the queen 
of spades and the three other knaves, and say :—“ a la¬ 
dy had three boarders, all of whom ran away without 
paying her. One of them ran this way ( putting a 
knave on the top of the pack), one of them ran that way 
(placing him at the bottom of the pack), and the third 
ran nobody knows where ( putting him. carelessly into 
any part of the pack not far from the top.) The lady was 
determined to pursue them and find them all out; so she 
began by going after the first. ( Lay the queen of spades 
on the top of the pack , and cut the cards , putting the 
lower half above the upper half.) She was so fortunate 
as to catch every one of them, and bring them back 
with her. So here they are all together. 

In saying this, deal out the cards (turning them up as 
you do so), and the queen of spades and three of the 
knaves will be found together. 

This trick is managed, by having in the first instance 

the odd knave on the top of the pack. It is he that, af- 
Ee 


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S3S 


AMERICAN GIRL’S BOOK. 


ter the cards are cut, makes the third. It is not likely 
mat the company will have observed what knaves ex¬ 
actly they were, and it will cause some surprise to see 
three come out together, when one was returned to the 
pack apparently at random. 


This trick may be performed with the Cards of Phil¬ 
adelphia or the Cards of Boston, selecting one with a 
red or yellow label for the lady, and the four Franklins 
for her boarders. 


THE WONDERFUL GUESSER 



To perform this trick, two persons of the company 
(for instance Ellen and Julia) must understand how it 
is done, and must secretly act in concert. 

Ellen lays six cards on the table, placing them in a 
row, and desires Julia to leave the room. Julia goes 
out and shuts the door after her. As soon as she is 
quite out of sight and out of hearing, Ellen asks Har¬ 
riet, or any one of the company, to touch a card. She 
then calls in Julia, saying to her something that seems 
of no consequence, and Julia, to the surprise of the 







— __ _ — 

AMERICAN GIRL’S BOOK. 339 j 

uninitiated, points out the card that Harriet has touched 
in her absence. 

The secret of the trick is as follows Ellen and Ju¬ 
lia understand that the six cards, laid in a row, signify 
the letters A, B, C, D, E, F. Ellen, when Julia re¬ 
turns to the room, addresses to her with apparent care¬ 
lessness some slight expression or trifling question that 
begins with the letter signified by the card that Harriet 
has touched. Thus if Ellen say to Julia on her en¬ 
trance, “ Are you ready?” Julia understands that Har¬ 
riet has touched the card A, the first in the row. If she 
says, “ Be quick !” Julia knows that Harriet has touch¬ 
ed the card B,—and so on. 

Ellen may address Julia with any of the following 
questions or phrases, according to the card that has been 
touched by Harriet:— 

Advance ! 

Are you ready ? 

Are you certain that you can tell * 

Be quick ! 

Be attentive. 

Be sure to guess rightly 

Come in. 

Come forward. 

Can you guess ? 









4 

.340 


AMERICAN GIRL’S BOOK. 


Do make haste. 

Did you see ? 

Do you think you can teli ? 

Enter. 

Easy enough you’ll find it. 

Every one is surprised at this trick. 

Find out the right card. 

Fix at once. 

Few can discover how this is done. 

Observe that Ellen is to say these things carelessly 
and as if they were of no importance ; but Julia is to 
listen attentively to the first word, that she may know 
in a moment what letter begins the sentence. 

If cards are not at hand, this trick may be shown 
with six bits of paper laid in a row. 



A VERY SIMPLE TRICK 

Jane takes a pack of cards, and invites Lucy to cut it 
or divide it in half. Lucy does so. Jane then places 
the lower half on the upper half, and looks carelessly 
on what is now the bottom card, which is perhaps the 
ace of spades. She then holds the pack to Lucy 














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3 - 


AMERICAN G I R L’s BOOK. 

spreading it like a lan, and desires her to choose a card. 
Lucy draws out a card (probably the pine of clubs,) and 
Jane then closes the pack, and holds it for Lucy to place 
her card at the bottom. Jane then shuffles the cards, 
taking care, however, not to separate any that are near 
the bottom, though she may put some of the top cards 
under them. 

Jane then deals out the cards upon the table, turning 
up the faces. And when she comes to the ace of 
spades (which she has observed as the bottom card after 
the pack was cut) she knows that the card immediately 
following it must be the one that Lucy has selected, and 
therefore she designates as such, the nine of clubs 

This trick is very easy 


*■ F 

341 j 


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342 


AMERICAN GIRL’S BOOK. 





AND 




ENIGMAS. 


1 


Ever eating, never cloying, 
All devouring, all destroying, 
Never finding full repast, 

Till I eat the world at last. 

TIME. 


2 . 


Form’d long ago, yet made to*day, 

Employ’d while others sleep, 

What few would like to give away, 

Or any wish to keep. 

A BED. 

3 . 

A gentleman, wishing access to a prison, was asked wnat was 
ms relationship to the person imprisoned? he answered, “I have 
"either brothers nor sisters; yet the prisoner’s father is my fath 
s son.” What relation was he ? 



THE PRISONER’S FATHER 












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AMERICAN GIRL’S BOOK. 


4 . 


&13 


There was a man bespoke a thing, 

Which, when the maker home did bring, 

He that made it did refuse it, 

He that bespoke it could not use it, 

He that had it did not know 
Whether he had it at all or no. 

A COFFIN. 

5 . 

My birth is mean, my bulk is small, 

Yet by my power high buildings fall; 

I speak aloud, yet want a tongue; 

Not Samson’s arm was half so strong j 
Like him no gates my progress stay, 

And I like him can thousands slay ; 

I seldom wound till T am dead, 

And, ere I win the field, I’m fled. 

No feet have I, yet swift I run, 

And never speak till I’m undone. 

GUNPOWDER. 

6 . 

What is that which is too much for one ; enough for two , but 
w Drse than nothing with three ? 

A SECRET. 

7 . 

I’m slain to save me—with much care and pain 
Scatter’d, dispers’d, and gather’d up again. 

Wither’d, though young—most sweet though unperfum’d, 

And carefully laid up to be consum’d. 

HAY. 




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344 


AMERICAN GIRL’S BOOK. 


8. 

Three feet I have (but ne’er attempt to go,) 

And many nails thereon, though ne’er a toe 
I both in city and in country dwell, 

And have no head ; yet I can reckon well. 

I often cheat the ladies of their due ; 

You think ’tis strange, but yet ’tis very true 

YARD-STICK. 

9 . 

The mother of evil, the parent of good, 

I never could eat, yet make all things my food. 

I am grave, I am gay, I am foolish and wise, 

Some men I degrade while I make others rise ; 

I cause pleasure and sorrow, sweet concord and strife 
All things I create, and destroy them—even life ! 

I ne’er shall relinquish my station on earth, 

While on it are found wisdom, folly, and worth. 

One hint I’ll give further, then bid you adieu, 

At this time I’m happy in dwelling with you. 

THOUGHT. 

10 . 

Small though I am, great objects I achieve j 
And oft the wisest of mankind deceive ; 

Patriots and law-givers by me their sway 
Maintain, and lead the nation to obey ; 

Mine are those gifts, and mine those powers refined, 
Which from the brutes distinguish human kind. 

I give new pleasure when the song goes round, 

And charm the hearers with melodious sound 

TONGUE. 


— 









guvnor- 


'—*-*■*§#£! 


AMERICAN GIRLS BOOK. 

11 . 

A sailor launch’d a ship of force, 

A cargo put therein of course ; 

He had no goods he wish’d to sell; 

Each wind did serve his turn as well; 

No pirate dreaded; to no harbour bound j 
His strongest wish that he might run aground. 

NOAH IN THE ARK. 

12 . 

AN EXCELLENT RIDDLE. 

BY THEODORE HOOK. 

On fluttering wings I’early rose, 

In no exalted flight; 

The lily, in the shade that blows, 

Not purer nor more white. 

At eve or morn ’twas pleasant sport 
Adown the stream to glide ; 

I help’d my mother to support 
And never left her side. 

A reckless man, who sealed my doom. 
Resolved a prize to win, 

Dragged me, remorseless, from my home, 
And stripped me to the skin : 

He cropped my hair, that skin he flayed, 
And then—his ends to seek— 

He slit my tongue, because, he said, 
lie thus could make me speak. 


345 


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346 


AMERICAN GIRL’S BOOK. 


’Tw as done—my name and nature changed. 
For love of hateful gold, 

vVith many victims bound and ranged, 

To slavery I was sold. 

I’m slave to any man or all, 

Yet do not toil for pelf: 

And, though I’m ready at the call, 

I cannot work myself. 

Still I in every language write 
To every foreign land: 

But yet (which may surprize you quite,) 

Not one I understand. 

Your tears and smiles I ean excite 
Your inmost thoughts revealing; 

Can give you sorrow or delight, 

And yet I have no feeling. 

The poet’s verse, the doctor’s draught, 
Without my aid were failing ; 

The historian’s page, the lawyer’s craft 
Would all be unavailing. 

Indeed, had man not changed my lot 
And claimed me for his own, 

Shakespeare and Milton, Pope and Scott, 
Had lived and died unknown. 

I’m growing old, and fate doth frown. 

And altered is my station ; 

1 m cut by friends, who wear me down 
By many an operation ; 











JULfli 


AMERICAN GIRL’S BOOK. 

My mouth grows black, my lips are furr’d, 

I never can get better; 

I scarcely can express a word, 

And hardly make a letter ; 

Long persecutions I have seen, 

But this I must avow, 

I think I never yet have been 
So badly used as now. 

A PEN. 

13 . 

Come read me this riddle without any pother, 

Five legs on one side, and three on the other, 

Two eyes in my forehead, and four on my back, 

One tongue that is silent, and two that can clack. 

A HORSE, CARRYING A WOMAN RIDING BEHIND A MAN 


ENIGMA BY LORD BYRON. 

’Twas whisper’d in heaven, ’twas mutter’d in hell, 

And echo caught faintly the sound as it fell ; 

On the confines of earth ’twas permitted to rest, 

And the depths of the ocean its presence confess’d ; 
’Twill be found in the sphere, when ’tis riven asunder ; 
'Tis seen in the lightning, and heard in the thunder ; 
’Twas allotted to man from his earliest breath, 

It assists at his birth, and attends him in death ; 
Presides o’er his happiness, honour, and health, 

Is the prop of his house, and the end of his wealth ; 


347 








fg**n 



348 AMERICAN GIRL’S BOOK. 

In the heap of the miser ’tis hoarded with care, 

But is sure to be lost in his prodigal heir ; 

It begins every hope, every wish it must bound ; 

It prays with the hermit, with monarchs is crown’d j 
Without it the soldier and seaman may roam, 

But wo to the wretch that expels it from home ; 

In the whispers of conscience ’tis sure to be found, 

Nor e’en in the whirlwind of passion is drown’d ; 

’Twill soften the heart, though deaf to the ear, 

’Twill make it acutely and constantly hear ; 

But, in short, let it rest ; like a beautiful flower, 

(0 ! breathe on it softly,) it dies in an hour. 

THE LETTER H. 

15 . 

He that in music takes delight, 

And he that sleeps secure by night, 

And he who sails too near the land, 

And he that’s caught by law’s strong hand ; 

He who his time in taverns spends, 

And he that courts of law attends ; 

He that explains heraldic signs, 

And he that works in silver mines,— 

Are all acquainted well with me : 

My name you surely now must see. 

BAR. 

16 . 

I am rough, smooth, hard, soft, long, short, round, flat, ovaL 
square, oblong ; sharp, dull ; am used for the most opposi*e 
purposes ; am now honoured with the. grasp of the monarch, and 








AMERICAN GIRL’S BOOK. 


flow in the hand of him who executes the meanest offices ; am 
now the delight of the idle beau as well as of the skilful artist, 
and now of the housemaid, ostler, and shoeblack. 

A BRUSH. 

17 . 

In camps and masquerades I oft appear ; 

In smiling meadows seen throughout the year *, 

The silent angler views me in the streams, 

And all must trace me in their morning dreams * 

First in each mob conspicuous I stand. 

Proud of the post, and ever in command ; 

Without my aid, no mercy can be shown, 

Nor mild compassion to their hearts be known ; 

The chemist proves my virtue upon ore, 

Touch’d with my wand, he turns it into more ; 

In music soft, in marble hard I pine , 

In misery live, in mirth I ever shine ; 

Each sees me in himself, yet all must see 
Their hearts and persons are unknown to me 

THE LETTER M. 

18 . 

I was before the world begun, 

Before the earth, before the sun • 

Before the moon was made to light 
With brighter beams the starry night j 
I’m at the bottom of the sea, 

And I am in immensity ; 

The daily motion of the earth 
Dispels me, and to me gives birth ; 



























350 


AMERICAN GIRL’S BOOK 



You cannot see me if you try, 

Although I’m oft before your eye. 

Such is my whole. But for one part 
You’ll find in taste I’m rather tart ;— 

Now I become the abode of men,— 

And now, for grovelling beasts, a pen ;— 

I am a man who lives by drinking ;— 

Anon I keep a weight from sinking ;— 

To take me folks go far and near ;— 

I am what children like to hear ;— 

I am a shining star on high ;— 

And I’m its pathway through the sky ;— 

My strength o’erpowers both iron and steel ;— 

Yet oft I’m left behind a wheel ;— 

I’m made to represent a head ;— 

Am found on every loaf of bread. 

Such are the many forms I take, 

You cannot count all I can make ; 

Yet, after all, so strange am I, 

Soon as you know me, then I die. 

obscurity : in which may be found sour ; city ; sty 

SOT ; BUOY ; TOUR ; STORY ; ORB ; ORBIT ; RUST , 
RUT ; BUST ; CRUST. 

19. 

I’m rough, I’m smooth ; I’m wet, I’m dry ; 

My station low, my title high ; 

I’m us’d by all, by all I’m bless’d, 

Yet you’re my lawful lord confess’d. 





HIGHWAY. 









'g^rv-Y-- 


} AMERICAN GIRL’S BOOK. 

20 . 

The man of letters finds me in his books ;— 

The angler by the side of babbling brooks ;— 

The sportsman seeks me with his dog and gun 
In foreign lands the traveller thinks I’m won ;— 
The spendthrift hopes to buy me with his gold ;— 
And childhood has me when a tale is told ;— 

The belle and beau for me frequent the ball;— 

In friv’lous chase of me men’s fortunes fall ;— 
The lounger looks for me where I am not ;— 

The romance lover in the tomes of Scott;— 
Fondness for me decoys the giddy youth 
From useful studies, till he learns this truth, ' 

“ All those who seek me only, most I fly — 
Lastly, when you my hidden sense descry, 

You’ll own that for my sake you pondered long 
The countless changes, that to me belong. 

Such am I as a whole. But, for one part,— 

The youth invokes me when he feels love’s dart 
New zest I add to scandal’s busy hour j— 

And adverse winds and tides confess my power;— 
I am the dazzling source whence colours flow ;— 
The sluggard’s teacher;—and your equal now;— 
Without me sails were useless;—then a word 
Expressing like ;—and now meek woman’s lord j— 
To measure next;—anon to add ;—to vex;— 

The gentle office of the weaker sex;— 

Pm flesh, not fish ;—I’m silent ever;— 

Sought by all ranks, on earth found never j— 

- 


351 









352 


AMERICAN GIRL'S BOOK. 



l r our near relation ;—and the squirrel’s food ;— 

What you would keep when in a lazy mood ;— 

Neptune’s abode ;—the forest monarch’s pride ;— 

A. term to the departed souls applied ;— 

What you possess, but others oftener use ;— 

Your gown must have me, spite of what you choose ;— 
Now the soft clime of u the cedar and vine — 

And last, a short word importing new wine. 

More could I tell, but I bid you adieu, 

Lest by prating I cause my own loss to you. 

amusement ; in which may be found , muse ; tea ; stream ; 

SUN 5 ANT ; MATE ; MAST ; AS ; MAN J METE ; SUM 

TEASE ; AMUSE ; MEAT ; MUTE ; EASE ; AUNT ; NUT ; 

SEAT ; SEA ; MANE ; MANES ; NAME J SEAM ; EAST j 

STRUM. 


CHARADES. 


l. 


My first is nothing but a name, 
My second’s still more small, 
My whole is of so little fame, 

It has no name at all. 

NAME-LESS. 



r~v-—- 





















AMERICAN GIRL’S BOOK. 


2 . 

Both bright and gloomy is my first, 

(True emblem of the life of man !) 

Ten thousand of my second were 
Alive before my first began. 

And something will my whole display 
That only lives a single day. 

APRIL-FOOL. 

3 . 

My first you do whene’er you sing, 

My second is your song; 

My whole is but a silly thing 
That does to both belong. 

SING-SONG. 

4 

My first I’m sure you do, whenever 

You look straight forward o’er your nose; 
My second is a tool most clever 
To sunder what it can’t compose. 

I’ve spoken clearly, yet, to aid you, 

I’ll tell you more—a game I’ve made you. 

SEE-SAW. 

5 . 

When vast Niagara thundering down the steep 
Rolls white and foaming to the lake’s blue deep; 
In verdant pride my stately first is found. 
Though winter spreads his dreary mantle round. 
On Indian isles when Phoebus pours his Maze 
My total basks beneath the golden rays. 

PINE-APPLE. 

t | __ 




353 
























.— iU 



AMERICAN GIRL’S BOOK. 


6 . 

The following beautiful charade is worthy of the distinguished poet 
whose name it siguifiea. 


Come from my First—aye, come! 

The battle dawn is nigh ; 

And the screaming trump, and the thundering drum 
Are calling thee to die! 

Fight as thy father fought, 

Fall as thy father fell; 

Thy task is taught, thy shroud is wrought ; 

So forward!—and farewell! 


Toll ye my Second!—toll! 

Fling high the flambeau’s light; 

And sing the hymn of a parted soul, 

Beneath the silent night! 

The wreath upon his head, 

The cross upon his breast,— 

Let the prayer be said, and the tear be shed : 
So take him to his rest. 



Call ye my Whole—aye call 

The lord of lute and lay ! 

And let him greet the sable pall 
With a noble song to-day. 

Go, call him by his name ; 

No fitter hand may crave 
To light the flame of a soldier's lame 
On the turf of a soldier’s grave. 

CAMPBELL. 


•—*-*-*§$& 










AMERICAN GIRL’S BOOK. 

7. 

My first is a part of the day, 

My second at feasts overflows ; 

In the cottage my whole is oft seen, 

To measure old Time as he goes. 
uour-glass. 

8 . 

My first gave us early support, 

My next is a virtuous lass ; 

To the fields if at eve you resort, 

My whole you will probably pass. 
MILK-MAID. 

9. 

My first nor book nor volume nam’d, 
Contains more leaves than most; 

My next, when certain crops are claim’d. 
Still stalks a numerous host: 

My whole—a creeping flower so fair,— 
Regales the eye, and scents the air. 

WOOD-BINE. 

10 . 

My first do all nurses possess, 

And dandle my second upon it; 

My whole is a part of the dress 
Attached to the cap or the bonnet. 

LAP-KiT. 

11 . 

My first is in most shops ; 

In every window my second ■ 


355 


- 


-- 








m* 


356 


AMERICAN GiRL’s BOOK, 


Mv whole is used for the bed, 

And, in winter, a comfort is reckon’d 

COUNTER-PANE. 

12 . 

My first, if you do, you won’t hit it; 

My next, if you do, you won’t leave it: 
My whole, if you do, you won’t guess it. 

MIS-TAKE. 


REBUSES. 

1. 

Find the thing by Pandora entail’d on mankind, 
When, on opening her box, only Hope staid behind r 
Let this word stand entire, and before it prefix 
Initials fifteen, but no letter e’er mix : 

Thus by changing the head, as the principal part, 
You may render it various as nature and art: & 

First I find it form part of a bird in the air; 

Then examine a fish, and as sure find it there ; 

As an eminence now it will rear up it’s head; 

Then the last deed of man, as is commonly said; 

As a farmer’s employment it next will appear; 

And a thing to your door you will find very near; 
What the doctors oft give, to relieve us from pain ; 
And a plant we now look for in gardens, in vain ; 
What I bid my friend do when I give him a toast, 
And a place much frequented by knights of the post, 




—* 





























AMERICAN GIRL’S ROOK. 


357 


A short name that’s well known in a nursery song ; 

And what runs through a country for many miles long : 
What’s the aim of the'sportsman pursuing his game ; 

Wljat we style a neat box, or a township’s short name ; 

And then all your labour will nearly be over, 

And a double head’s all you have left to discover , 

For one, being mute, a companion and friend, 

Must forever stand by, its assistance to lend ; 

In revealing what’s common to birds and a beast, 

And whose use to us scribblers is none of the least. 

ILL ; Bir.L ; GILL ; HILL ; WILL ; TILL ; SILL J PILL ; DILL J FILL 
MILL ; JILL ; RILL ; KILL ; VILL ; QUILL. 

2 . 

I am found in a jail; I belong to a fire ; 

And am seen in a gutter abounding in mire : 

Put my last letter third, and then ’twill be found 
I belong to a king, without changing my sound. 

GRATE J GREAT. 

I _ 




MORE ENIGMAS AND CHARADES 

1. 

Legs I have none, and yet I go and stand, 

And when I go I lie—witness my hand. 

A CLOCK THAT DOES NOT KEEP TIME. 

2 . 

I went to the woods and got it ; I sat down to look for it ; the 
more I looked for it, the less I liked it : and, not being able t« 
find it, came away without it. 

A THORN IN THE FOOT. 


- 


- 












- 




*5S 


AMERICAN GIRLS BOOK. 


3 . 


A man and woman in all lands 

Have forty nails upon their hands 

Twenty-five upon each of their feet 

And this is a truth though you think it a cheat. 

To solve this riddle read as follows :— 

A man and woman in all lands 
Have forty nails—upon their hands 
Twenty—five upon each of their feet— 

And this is the truth, though you think it a cheat. 

4 . 

Five letters do compose my name, 

Backwards and forwards I’m the same : 

Read me, and you will quickly see 
What death will make both you and me. 

LEVEL. 

5 . 

What is that which hangs and bears, but never blossoms ? 

A CHIMNEY CRANE 

6 . 

A house full, and a yard full, but you can’t catch a bowl lull 

SMOKE. 

7 . 

There is a thing in Amsterdam, 

In Rome it too appears— 

It’s twice in every moment, 

But not once in seven years. 

THE LETTER M. 

8 . 

My whole is under my second, and surrounds my first 

WAISTCOAT. 








V8! 


























AMERICAN GIRL’S BOOK. 


359 


y. 


My firs' dreads my second, for my second destroys my first, 
while many take a strange delight in my whole. 

FOX CHASE. 


CONUNDRUMS.* 

1. What is that brings on an illness, cures it, and pays the doc* 

tor ? A draught—( a draft.) 

2 . What line of Shakspeare’s Lear might be addressed to a 
dyspeptic black boy ? 

“ Take physic, Pomp. ,, 

3. Why is a lady that is very amiable and very tall, like a 
line in Milton ? 

She is “ lengthened sweetness long drawn out.” 

4 Why is good conduct like boiling water ? 

It raises esteem— (a steam.) 

5. Why is a merchant that has failed, like a river in a freshet ? 

He has over-run the banks. 

6. Why is a vain woman like a tippler ? 

She likes her glass. 

7. How can the leopard change his spots ? 

If he doesn’t like the spot he is in, he can remove to another 

* It has now become customary to introduce,among the confectionery at even¬ 
ingparties, conundrums (of course accompanied by the answer) written or prin 
ted on slips and folded up, with each a sugar-plum in little coloured papers, 
nicely fringed and twisted. Conundrums, introduced in this manner, are muck 
more amusing, as well as rational, than the silly love-distichs which constitute 
the mottos or secrets that formerly were inclosed with the bonbons. 


- 
























360 


8 . 


AMERICAN GIRLS BOOK. 


When is a nose not a nose ? 

When it is a little reddish— (radish.) 

9. When is a man not a man ? 

When he is a shaving. 

10. When is a thief not a thief? 

When he’s a robin— (robbing.) 

11. When is a sailor not a sailor ? 

When he’s a board. 

12. Why is a comb-maker like an infant ? 

He cuts teeth. 

13. What is that which cannot move without a noise, and yet 
a noise is of no use to it ? 

A coach. 

14. Why is a book with the cover torn off like a man that 
r omits an assault ? 

It should be bound over. 

15. Why is the human mind like sealing-wax ? 

It is capable of receiving any impression 

16. Why is the letter E like an island? 

It is in the midst of the sea. 

17. Where did Napoleon stand when he landed at St. Helena ? 

On his feet. 

18. Why is a room full of married people like an empty room ? 

There is not a single person in it. 

19. Why is a dyer like a chamelion ? 

He changes colours. 

20. Why is the nose in your face like the letter V in th« 
vord civility ? 

It is between two i’s— (eyes.} 















— 


AMERICAN G I R L’S BOOK. 


21. Why is a young goat asleep, like a man stealing chil- 
dren? 

He is a kidnapping. 

22. Why is a native of Venice who has lost his eyesight, 
like a shade to exclude the sun ? 

He is a Venetian blind. 

23. Why is a man that writes notes on a book, like the vege¬ 
table most in favour with the Irish ? 

He is a commentator— (a common tater—a potato.) 

24. Why is a man that borrows books and never returns 
them, like a merchant’s clerk ? 

He is a book-keeper. 

25. What always happens to a young lady that has her por¬ 
trait painted? 

She is miss represented—( [misrepresented .1 

26. When is a young lawyer like a young rook ? 

When he is trying his first cause— (caics.) 

27. If checks on the bank could speak, what celebrated Ro¬ 
man name would they utter? 

Cassius—( Cash us.) 

28. Why is a lady putting on her jewels, like a woman in 
great affliction ? 

She is wringing ner hands— (ringing.) 

29. On which side of the pitcher is the handle ? 

On the outside. 

30. Why is a man on the point of marriage, like a man em¬ 
barking for France in a New York packet ? 

He is going to Havre— (have her.) 

31. What most resembles half a cheese? 

~ The other half. 

Or G 










362 


AMERICAN GIRL’S BOOK. 


32. Why is a field of grass like a knife-box ? 

It contains many blades. 

33. How can a man have five sides whenever he carries a 
flitch of bacon in his hand ? 

He has his right side and his left side, his outside 
and his inside, and his bacon side. 

34. If Falstafif were a musician, what instrument would he 
choose ? 

A sack-but. 

35. There is a word of five syllables—take away the first and 
no syllable will remain. 

Monosyllable. 

36. Why did a fat gentleman, dreadfully squeezed in a crowd 
at the theatre, become very complimentary to the ladies? 

The pressure made him flatter. 

37. What is the difference between an infant and a soldier* 

The one is in arms, the other under arms. 

38 Why is a gardener like a shoemaker? 

He has a variety of lady’s slippers. 

39. Why is a pudding-bag like a costly piece of brocade ? 

It should be well floured— (flowered.) 

40. Why are English servants like nuns ? 

They won’t go without their vails— (veils.) 

4j.. Why does a carter seem fonder of grief than any other 
man ? 

He is always crying “ Come hither, wo.’ 1 

42. Why is a man that never alters his opinions, like a per¬ 
son with only a ten-dollar note in his pocket ? 

He is a man without chonge. 


O 

4 

















|f^7TV-^- 


AMERICAN GIRL’S BOOK. 



43. When are nuts insane ? 

When they are cracked. 

44. Why ought an epigram to resemble a jelly-big ? 

It should be pointed at the end. 

45. Why is a caravan, when crossing the desart, like a pop¬ 
ular Scotch song ? 

Themamels are coming—( Campbells.) 

46. Why is a dislocated wrist like an extinguished fire ? 

It is put out. 

47. Why is an ill-humoured man like a loaf of bread ? 

He is crusty. 

48. Why does the eye resemble a severe schoolmaster ? 

It has always a pupil under the lash. 

49. Why is a physician like a cobbler ? 

He knows the healing art—( heeling.) 

50. Why is a wheel like a person fatigued ? 

It is tired. 

51. Why is an unpaid bill like the moisture in the morning ? 

It is due— (dew.) 

52. Why is a sanguinary epistle like a surgeon ? 

It is a letter of blood. 

53. Why is the success of a bill in Congress like the beauty 
of the human face ? 

It depends on the ayes and noes— (eyes and nose.) 


54. Why is a gardener like a good dancer? 

He keeps time— (thyme.) 

55. What does a frigate weigh, with all her crew on board, 
.lust before she sets sail ? 

She weighs anchor. 









- 




364 


AMERICAN GIRL’S BOOK. 


- 56. What word is that to which, if you add a syllable, it wiL 
make it shorter ? 

Short. 

57. How many sides has the trunk of a tree ? 

Two, the inside and the outside. 

58. What is the first thing seen by a poor author on opening 
his trunk ? 

The bottom of it. 

59. If a man’s horses have lost their tails, why should he sell 
them by wholesale ? 

He cannot re-tail them. 

60. Where was Oliver Cromwell going in his last moments ? 

To die. 

61. Who was the father of Zebedee’s children? 

Zebedee. 

62. Why is a bad pen like a wicked life ? 

It ought to be mended. 

63. What lady is that whose visits nobody wishes, though 
Her mother is welcomed by all parties ? 

Miss Fortune—( Misfortune .) 

64. Why is a sycophant like the hands of a clock ? 

He is time-serving. 

65. Why is a sailor in battle like idleness ? 

He is in-action. 

66. Where did the Witch of Endor live ? 

At Endor. 

67. Why is a truant school-boy like a dose of bark and wine 

When taken, he should be well shaken. 

68. Why is an ill-tempered man like an astral lamp ? 

He is easily put out. 
















-— 


AMERICAN (t 1 R L 7 S BOOK. 


365 


69. Why should you never pay a hackney coachman his de¬ 
mand until he offers to fight you for it ? 

“ None but the brave deserve the fair”—( fare.) 

70. Why is a dying man like a man going to Wisconsin ? 

He is passing into a future state. 

71. Why is a lady walking before a gentleman like news 
that has come express ? 

She is in advance of the mail— (male.) 

72. What kind of fence should surround a race-ground? 

A stake and rider one, of course. 

73. What sort of fruit is always placed in a letter ? 

The date. 

74. Why is an elephant like a man going to a country-house 
on a visit ? 

He brings his trunk with him. 

75. Why is a post-boy riding a hack horse like a man teach¬ 
ing another phrenology ? 

He Galls and Spurzheim— (galls and spurs him.) 

76. Why is steam on a rail-road like sugar from New-Orleans ? 

It makes a car go— (cargo.) 

77. When is a bonnet not a bonnet ? 

When it becomes a lady. 

78. Why are tw r o gentlemen, whose wigs have fallen off in 
dancing, like two ships in a storm ? 

They are scudding under bare poles— (polls.) 

79. What are the most unsociable things in the world? 

Milestones—you never see two of them together 

80. Why is a horse in a stable like a tortured criminal? 

He is tied to the rack. 





















AME5ICAN GIRLS BOOK. 

81. What kin is that child to its own father who is not its 

father’s own son ? His daughter. 

82. Why are fixed stars like pen, ink, and paper ? 

Because they are stationery. 

83. Why is a dejected man like one thrown from a precipice 1 

He is cast down. 

84. Why is a dandy like a haunch of venison ? 

He is a bit of a buck. 

85. Why are there three objections to a glass of spirits ? 

Because there are three scruples to a dram— (drachm.) 

86. What is a man like that is in the midst of a river and can* 

not swim ? Like to be drowned. 

87. Why is a lady curling her hair like a house-breaker * 

She is twisting and turning locks. 

88. Why is St. Paul’s cathedral like a bird’s nest ? 

It was built by a Wren. 

89. Why has a glass-blower more command over the alphabet 
than any other man ? 

He can make a D canter— (decanter.) 

90. Why is a good story like a parish bell ? 

It is often tolled— (told.) 

91. In what month do ladies talk least ? 

In February, because it is the shortest. 

93 Why is a profitable office like an empty snuff-box ? 

It is not to be sneezed at. 

94. Why is a skilful gardener like a nice chambermaid ? 

He keeps his beds in order. 

95. Why is a printer convicted of a libel like a traveller whc 
has caught the rheumatism at a bad inn ? 

He suffers for lying in damp sheets. 













AMERICAN GIRL’S BOOK. 





9‘>. Why is a boy who pricks his brother William with a fork 
ike a man pasting a placard against a wall ? 

He is a Bill-sticker. 

98. Why is the narrative of the death of Socrates like the 
ipper room of a house ? It is an Attic story. 

99. Why is an office-holder like an industrious cobbler ? 

He sticks to the last. 

100. Why is a cobbler who cannot find his tools like a ruined 

man ? He has lost his awl— (all.) 

101. Why is wit like a diamond ? 

It cuts as well as shines. 

102. Why is a mayor like an almanac ? 

He serves but one year. 

103. Why is a bad singer like a bad clock ? 

He does not keep time. 

104. Why are all the letters of the alphabet exiles except the 

first three ? They are beyond the C — (sea.) 

105. When does a thing remind you of one of Shakspeare s 

comedies ? When it is “ As you like it.” 

106. Why is a lawyer’s business like that of every body else ? 

It consists of words and deeds. 

107. Why are holes in a lady’s stockings like bad roads and 
1 roken windows ? 

They ought to be mended at once. 


108 . 

109 . 

fish ? 

110 . 

muff he .akes ? 


Why are poor authors like ships just launched ? 

They want new rigging. 

What bridge over the Thames is like two negroes frying 
Black-friars. 

What snuff-taker is it whose box gets fuller the more 


A pair of snuffers. 



























369 AMERICAN GIRL’S BOOK* 

111. Why is the sun malicious ? He casts 

112. Why is a cellarman at a liquor store like a magician ? 

He raises spirits from under ground. 

113. Why is a lame beggar on crutches like a nobleman ? 

Because he has supporters to his arms. 

114. Why is a blacksmith at work on the edge of a river lik* 

a man committing a crime ? He forges on the Bank. 

115. Why is a lawyer like a good-natured man ? 

He takes the will for the deed. 

116. Why is a player like a travelling coachman ? 

He lives by the stage. 

117. Why is a clergyman’s horse like an English king * 

He is guided by a minister ? 



118. What part of London is in France ? The letter N 

119. Why is a good man like an epicure ? 

He studies to live well. 

120. How many black beans will make five white ones ? 

Five, when they are peeled. 

121. What two men are they whose influence is equal, and 
whose power extends from pole to pole ? 

The carriers of a sedan chair. 

122. How many cows’ tails would it take to reach from New 

York to Boston ? One—if it were long enough. 

123. What line of Gray’s Elegy should be repeated by a cook 
at the kitchen hearth early in the morning ? 

“ Even in our ashes live our wanted fires”—( toonted .) 



124. Why are young ladies playing at “the Gra;es” like pas 
lengers in the boat of Charon ? 

They are crossing the sticks— (Styx.) 









- 




AMERICAN GIRLS BOOK. 


369 


125. 


129. 


130. 


131. 


Why is lover visiting his mistress like a bad musician ? 

He “ takes no note of time.” 

126. Why is an officer on a fine horse like a diamond set in 
a splendid ring ? 

He is well mounted. 

127. Why is an eminent lawyer like the keeper of a common 

tavern ? He has much practice at the bar. 

128. Why is a man stealing a watch like procrastination ? 

Because “ procrastination is the thief of time.” 
Why are good portraits like twin brothers fighting? 

They are striking likenesses. 

Why are credulous people like musical instruments 1 
They are often played on. 

Why are melancholy people like decanters that have 
been overset ? 

They have lost their spirits. 

132. Why are the subjects of queen Victoria like persons ex¬ 
pecting an equinoctial stprm ? 

They may look forward to a long reign ?— (rain.) 

133. If a boy goes up in a balloon, what tavern sign does he* 

resemble ? The rising son— (sun.) 

134. What is that which is in visible, but never out of sight ? 

The letter 1. 

135. If a man six feet high wear a sword three feet lorg, how 
wide should the brim of his hat be ? 

The usual size. 

136. Why is a dyer like a person discontented ? 

He changes colours. 

137. Tf a pair of andirons costs three dollars, what will a loa& 

yf wood come to ? It will come to ashes. 







-- 


370 

.. 

i38 

What is the cheapest way of buying a fiddle ? 

Go to an apothecary for some patent medicine, and he 


will give you a vial in— violin. 

39. 

Why is a boy doing his sums like a serpent erect ? 


He is an adder up. 

140. 

Why are the savings of a miser like linen bleaching ? 

They are all the better for the sun and air—( sun and heir.) 

141. 

When is a boat like a knife ? 


When it is a cutter. 

142. 

Why is a crooked line in a copy-book like turning your 

oack on a king ? 


It is out of all rule. 

143. 

Why is a young lady on the road to a New-York bathing- 

place like an old woman taking her seat in a Boston easy 

chair ? 

She is going to Rockaway— (rock arvay.) 

144. 

Why is a speech delivered on the deck of a ship of war 

like a lady’s necklace ? 

• 

It is a deck oration— ( decoration .) 

145. 

Why is a mimic like a scrivener ? 


He is always copying. 

146. 

What is a man like when in a desert without food oi 

water ? 

Like to be famished. 

147. 

Why is a watchman like a horse in a team-boat ? 


He goes his rounds. 

143. 

Why ought a fisherman to be wealthy ? 


His if all net profit. 


- 












AMERICAN G I R L’S BOOK. 



140. What kind of portrait can you spell with three letters * 

F E G— {effigy.) 

141. Why is grass like a mouse ? 

The cat 'll eat it —(the cattle eat it.) 


ANAGRAMS. 

Anagrams am riddles containing the names of celebrated men or things resol¬ 
ved into any apt phrase by a transposition of letters. They were formerly 
considered of great consequence. 


1 . 

Horatio Nelson. 

HONOR EST A NILO. 

2. 

Astronomers. 

NO MORE STARS. 

3. 

Napoleon Bonaparte. 

NO, APPEAR NOT AT ELBA. 

4. 

Charades. 

A HARD CASE. 

5. 

Potentates. 

TEN TEA-POTS. 

6. 

Enigmatical. 

IN MAGIC TALE. 

7. 

Telegraphs. 

GREAT HELPS. 

8. 

Festival. 

EVIL FAST. 

9. 

Lawyers. 

SLY WARE. 

10. 

Phaeton. 

A HOT PEN. 

11. 

La revolution Francaise. 

VETO. UN CORSE LA FINIRA 

12. 

Parishioners. 

I HIRE PARSONS. 

13. 

Penitentiary. 

NAY, I REPENT IT. 

14. 

Disappointment. 

MADE IN PINT POTS. 

15. 

Sovereignty. 

’T1S YE GOVERN. 

16. 

Miniature. 

TRUE, I AM IN. 

17. 

Sweetheart. 

THERE WE SAT. 







































AMERICAN GIRL'S BOOK. 



what is called a pearl-edge, as it will prevent it from 
going easily through the beads. Take a needle with a 
short piece of sewing silk, and fasten it to one end of 
the ribbon. Draw it through the three beads succes¬ 
sively ; beginning always at that end of each bead that 
has the largest hole. When you have thus strung the 
three beads on the ribbon, make with your needle and 
sewing silk a bow at each end, so that the beads may 
not slip off. Y ou may either have all the beads of the 
same size, or you may put a larger one in the middle, 
and smaller ones at the two ends. All the beads, how¬ 
ever, should be of the same colour. You may either 
match the beads for the colour of the ribbon, or you 
may contrast red beads with green ribbon, black or pur- 
pie beads with blue or yellow ribbon, or in any otheT 
way that you choose. The best beads for this purpose 
are the cut glass ones that you find in the German 
stores, and of which you can get a string for a trifle. 
Sometimes you may buy at these stores loose beads that 
have fallen off the strings, and you can obtain a variety 
of sorts for a small sum. Wax beads will not answer 
the purpose, as they are too light and too brittle. 


When your book-marker is made, slip the centre bead 
into the middle of the string, and lay one half of the 












jg^inon— 


374 


AMERICAN GIRL’S BOOK 


-- 





ribbon Between the corner and the last leaf of your book, 
letting the centre bead come out at the top. While you 
are reading, the other half, of the ribbon may hang out 
over the back of the book, but when you leave off and 
wish to mark your place, lay it inside, between the pa¬ 
ges you were last reading. The lower beads and the 
two bows will come out at the bottom. The weight of 
the beads keeps the ribbon in its place. 

No book-markers are so convenient as these, and 
they cost but six or eight cents. It is best to make sev¬ 
eral, m case you have more than one book on hand at a 
lime. A marker for an octavo volume should have a 
longer ribbon. A yard and a half will be sufficient. 





— 












fi +frnr,- 


AMERICAN GIRL’S BOOK. 




375 


A CARD BASKET. 

A very pretty little basket, to hold visiting cards, may 
be made as follows:— 

Take a piece of coloured Bristol Board, which is a fine 
sort of pasteboard. It may be blue, green, pink, lilac, 
yellow, or any pretty tint, but the colour must go all 
through. Cut off a piece about a half quarter of a 
yard in length, and a half quarter and a nail in width 



-- 





.*376 


AMERICAN GIRL’S BOOR. 


Lay it on a table, and, with a lead pencil and a ruler 
mark out a row of perpendicular lines, not extending, 
however, to either the bottom or the top of the paste* 
board, but leaving at each edge about an inch and a 
half blank. Then, with a sharp penknife, cut a row of 
slits along the middle of the pasteboard, exactly where 
you have made the pencil-marks. Then bend or double 
over the pasteboard, taking care not to crease or break 
it. Bring the two edges together, and sew them along 
the bottom with silk of the same colour. Then bend 
the double pasteboard round into a ring. The slits or I 
bars will thus form loops. The open side of the double 
pasteboard must then be sewed up, as far as where the 
loops begin. 


Cut out a circular bottom-piece of the same sort of 
pasteboard, and sew it on to the lower part of the bas¬ 
ket. 


Next, cut a pasteboard handle ; notch it all along on 
both sides, and wrap round it a narrow ribbon, bringing 
the ribbon between every notch. 



Bind the basket with narrow ribbon, so as to conceal 
all the stitches. Sew the handle on the inside at the 
















f 




AMERICAN GIRLS BOOK. 


37? 


place where the loops begin, and conceal the sewing ol 
the handle with bows of ribbon. The ribbon had best 
be of some colour that contrasts handsomely with the 
pasteboard. For instance,—purple ribbon to blue or 
yellow pasteboard ; dark green to lilac ; and dark brown 
to pink. 

The loops of these baskets may be edged on both 
sides with gold paper, cemented neatly to the pasteboard 
with what is called mouth-glue or lip-glue ; a composi¬ 
tion which can be bought at the fancy-stationers, and 
which by wetting it in the mouth can be softened suffi¬ 
ciently for use, rubbing it on the pasteboard as you 
want it. 


Hr 


- 








375 


AMERICAN GIRL’S BOOK. 



A GINGHAM PINCUSHION. 

Take half a quarter of chambray gingham, (that 
which is all plain, of one colour, without stripes or 
;ross-bars), and a quarter of a yard of white Swiss 
muslin. Pink or buff gingham is very pretty for this i 
purpose. 

Make the foundation of the pincushion, by tightly 
rolling a slip of flannel into a cornpac* and circular 
form. Then cover the flannel wim wmte linen or thick 
muslin, sewing a round piece of pasteboard on the in¬ 
side of the bottom-cover, to make it stand steadily. 

The outside cover is to be made of the gingham. 
The top-piece must be circular. Sew all round it 
another piece, of proper shape, to form the sides, and ta 
fold over beneath the bottom. 




















AMERICAN GIRL’S BOOK. 



Cut the white Swiss muslin into strips or frills, hem 
,t on both edges, and gather it along the middle of each 
frill. Sew it round the top-piece of the gingham, so as 
to form a double ruffle. 


Then put the gingham cover on the pincushion; 
stretching it tightly. The part that is to cover the bot¬ 
tom should be slit in four, so as to make four triangular 
pieces, all of which must be hemmed. All these points 
must meet in the centre of the bottom, where they must 
be pinned together so as to make all smooth. 

When the outer cover is soiled, you can take it off by 
withdrawing the pins, and it can be washed and ironed. 


These are very convenient as toilet pincushions, for 
common use. 


The frills may be made of gingham. 


Pincushions of this form are very pretty when made 
entirely of stiffened white muslin called Bishop’s Lawn. 
A pattern, representing a chain or a wreath, should be 
worked round the top in coloured crewel; and the edg¬ 
es of the frill should be whipped over with crewel of 
a colour to correspond. 


- 








-- 


- 5 - a 7^b 


380 


AMERICAN GIRL’S BOOK. 




A WINE-GLASS PINCUSHION. 

This is very simple, and is made in a few minutes. 
Take a common wine-glass. Fill it with bran, pressed 
down very tightly, and heaped on the top. Take a cir¬ 
cular piece of thick silk, large enough to cover the top 
and sides of the glass : tie it on tightly over the top and 
sides with a ribbon, bringing it down a little below the 
place where the stem of the glass begins. 

This pincushion is very convenient to stand on a ta 
ble or bureau. 

Scollop the edge of the silk covering, or hem it. 





















AMERICAN CTRL'S BOOK. 





A CAliD NEEDLE-BOOK. 

Take two handsome coloured cards with perforated 
edges. You may get them at the fancy stationers’. 
Prepare a double leaf of a square of white cassimere. 
Scollop the edges with scissors, or overcast them with 
sewing-silk. Lay these needle-flaps between the two 
cards, and bind all together at the back with narrow 
ribbon. Sew to each corner a string of the same rib¬ 
bon, to tie up the needle-book when not in use; and 
put a bow at each extremity of the back. 

Lilac cards with dark-green ribbon are very pretty. 
So are pink, trimmed with green or brown; or blue 
trimmed with brown or purple. Yellow looks well 
trimmed with black or crimson. 




















AMERICAN GIRL'S BOOR. 


3*2 



A WAFER PEN-WIPER. 


Take two circular pieces of pasteboard, somewhat lar¬ 
ger than a dollar. Cover them on both sides with black 
silk, sewed neatly round the edges- Prepare half a 
dozen round pieces of black canton crape of the same 
size. Scollop the edges, and sew them between the twG 
leaves of covered pasteboaid, by a few stitches on one 
side only, so that they will open like a book. Take 
some bits of fine cloth or merino, of different colours, 
red, black, blue, green, brown, &c. Cut them out in 
the form and size of wafers. Sew them on to one of 
the pasteboard covers; beginning in the middle and car¬ 
rying these cloth wafers tt^darly round till yon have 


20 . 3 . 













AMERICAN G ] R L 'S BOOK. 


:jsn 


put on a sufficient number to cover the whole of the lid 
Let a little bit of every wafer lie over the one that ha? 


preceded it. This will conceal the stitches. 

Take care to contrast the colours well, and have there 
as various as possible. 

These pen-wipers, when lying on the writing table, 
look like a cluster of wafers. 















































* 





































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